Boston Symphony Orchestra Concert Programs, Summer, 2000

Home , James DePreist, Jeanette Scovotti, Pare Lorentz, Paul Meyer (clarinetist), Red Garuda, The Dybbuk (opera)

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Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship, fullyfunded in perpetuity Bernard Haitink, Principal Guest Conductor One Hundred and Nineteenth Season, 1999-2000

Trustees of the Boston Symphony Orchestra, Inc.

Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President

Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairmn Ray Stata, Vice-Chairman

Harlan E. Anderson William F Connell George Krupp Robert P. O'Block,

Diane M. Austin, Nancy J. Fitzpatrick R. Willis Leith, Jr. ex-officio ex-officio Charles K. Gifford Ed Linde Peter C. Read

Gabriella Beranek Avram J. Goldberg Mrs. August R. Meyer Hannah H. Schneider Jan Brett Thelma E. Goldberg Richard P. Morse Thomas G. Sternberg James F. Cleary Julian T. Houston Mrs. Robert B. Stephen R. Weiner

John F. Cogan, Jr. Edna S. Kalman Newman

Life Trustees Vernon R. Alden Mrs. Edith L. Dabney Dean W. Freed Mrs. George Lee

David B.Arnold, Jr. Nelson J. Darling, Jr. Mrs. George I. Kaplan Sargent J.R Barger Archie C. Epps George H. Kidder Richard A. Smith

Leo L. Beranek Mrs. John H. William J. Poorvu John Hoyt Stookey Abram T. Collier Fitzpatrick Irving W. Rabb John L. Thorndike

Other Officers of the Corporation Thomas D. May and John Ex Rodgers, Assistant Treasurers

Board of Overseers of the Boston Symphony Orchestra, Inc.

Robert P. O'Block, Chairman

Helaine B. Allen Goetz B. Eaton William M. Karlyn Millard H. Pryor, Jr.

Joel B. Alvord William R. Elfers Steven E. Karol Patrick J. Purcell Amanda Barbour Amis George M. Elvin Nan Bennett Kay Carol Reich

Marjorie Arons-Barron Pamela D. Everhart Frances Demoulas William D.Roddy, Jr.

Caroline Dwight Bain J. Richard Fennell Kettenbach Edward I. Rudman George W. Berry Lawrence K. Fish Douglas A. Kingsley Roger A. Saunders

Lynda Schubert Bodman Thomas B. Fitzpatrick, David I. Kosowsky Carol Scheifele-Holmes Mark G. Borden M.D. Dr. Arthur R. Kravitz Roger T Servison William L. Boyan Myrna H. Freedman Florence Ladd Ross E. Sherbrooke

Alan Bressler A. Alan Friedberg Mrs. William D. Larkin, Jr. L. Scott Singleton Robin A. Brown Dr. Arthur Gelb Barbara Lee Gilda Slifka

Samuel B. Bruskin Mrs. Kenneth J. Thomas H. Lee Mrs. Micho Spring William Burgin Germeshausen Alexander M. Levine Charles A. Stakeley R. Paul Buttenwieser Mark Goldweitz Christopher J. Lindop Jacquelynne M. Stepanian

Dr. Edmund B. Cabot Michael Halperson Edwin N. London Samuel Thorne, Jr. Mrs. Marshall Nichols John P. Hamill Diane H. Lupean Bill Van Faasen Carter Deborah M. Hauser Carmine Martignetti Loet A. Velmans Earle M. Chiles Carol Henderson Barbara E. Maze Paul M. Verrochi Mrs. James C. Collias Phyllis S. Hubbard Thomas McCann Stephen R. Weber

Eric D. Collins F. Donald Hudson Patricia McGovern Robert S. Weil Martha HW. Roger Hunt Joseph C. McNay Robert A. Wells Crowninshield Ernest Jacquet Nathan R. Miller Mrs. Joan D. Wheeler Diddy Cullinane Lola Jaffe Molly Beals Millman Reginald H. White Joan P. Curhan Mrs. Robert M.Jaffe Robert T O'Connell Margaret Williams-

Tamara P. Davis Charles H. Jenkins, Jr. Norio Ohga DeCelles Mrs. Miguel de Braganca Michael Joyce Louis F. Orsatti Robin Wilson Betsy P. Demirjian Dr. Hisashi Kaneko May H. Pierce Robert Winters JoAnne Walton Dickinson Martin S. Kaplan Dr. Tina Young Poussaint Kathryn A. Wong Harry Ellis Dickson Susan Beth Kaplan Gloria Moody Press Richard Wurtman, M.D. Francis A. Doyle Overseers Emeriti Mrs. Weston Adams Mrs. James Garivaltis Robert K. Kraft Robert E. Remis

Sandra Bakalar Jordan Golding Benjamin H. Lacy Mrs. Peter van S. Rice Bruce A. Beal Mrs. Haskell R. Mrs. Hart D. Leavitt John Ex Rodgers William M. Bulger Gordon Laurence Lesser Mrs. Jerome Rosenfeld

Mrs. Levin H. Susan D. Hall Frederick H. Lovejoy, Jr. Angelica L. Russell

Campbell Mrs. Richard D. HiU Mrs. Charles P. Lyman Francis P. Sears, Jr. Johns H. Congdon Susan M. Hilles C. Charles Marran Mrs. Carl Shapiro William H. Congleton Glen H. Hiner Mrs. Harry L. Marks Mrs. Donald B. Sinclair Phyllis Curtin Marilyn Brachman Hanae Mori Ralph Z. Sorenson

Harriett Eckstein Hoffman Patricia Morse Mrs. Arthur I. Strang

Edward Eskandarian H. Eugene Jones Mrs. Hiroshi H. Mrs. Thomas H. P. Peter H.B. Leonard Kaplan Nishino Whitney Frelinghuysen Mrs. S. Charles Kasdon Andrall S. Pearson Mrs. Donald B. Wilson L. Mrs. Thomas Richard Kaye John A. Perkins Mrs. John J. Wilson Galligan, Jr. Mrs. Gordon F. David R. Pokross Kingsley Daphne Brooks Prout

Business Leadership Association Board of Directors William F. Connell, Chairman Leo L. Beranek, James F Cleary, and Charles K. Gifford, President Harvey Chet Krentzman, Chairmen Emeriti

Lynda S. Bodman William R. Elfers Edmund Kelly Roger T. Servison

Robin A. Brown Lawrence K. Fish Michael J. Joyce Malcolm L. Sherman

Diane Capstaff Nancy J. Fitzpatrick Christopher J. Lindop Ray Stata

Martha H.W. Bink Garrison J. Kent McHose Thomas Tierney Crowninshield John P. Hamill Joseph McNay William Van Faasen

Diddy Cullinane Steven E. Karol Patrick J. Purcell Paul M. Verrochi Francis A. Doyle

Ex-Officio R. Willis Leith, Jr. • Nicholas T Zervas • Robert P. O'Block

Officers of the Boston Symphony Association ofVolunteers Diane M. Austin, President Harry Methven, Executive Vice-President/ William A. Along, Executive Vice-President/ Tanglewood Adm in istration Charles W. Jack, Treasurer Nancy Ferguson, Executive Vice-President/ Linda M. Sperandio, Secretary Fundraising Doreen M. Reis, Nominating Committee Chairman

Maureen Barry, Symphony Michael Flippin, Resource Mary Marland Rauscher, Shop Staffing Development Hall Services Christina M. Bolio, Public Muriel Lazzarini, Tanglewood Donna Riccardi, Membership Relations Ann M. Philbin, Fundraising Richard D. Dixon, Education Projects and Outreach Administration Mark Volpe, Managing Director Eunice andJulian Cohen Managing Directorship, fullyfunded in perpetuity Tony Beadle, Manager, Boston Pops Kim Noltemy, Director ofSales and Director J. Carey Bloomfield, ofDevelopment Marketing Anthony Fogg, Artistic Administrator Caroline Smedvig, Director ofPublic Marion Gardner-Saxe, Director ofHuman Resources Relations and Marketing Ellen Highstein, Director ofTanglewood Music Center Ray F. Wellbaum, Orchestra Manager Thomas D. May, Director ofFinance and Business Affairs

ADMINISTRATIVE STAFF/ARTISTIC

Faith Hunter, Executive Assistant to the Managing Director • Karen Leopardi, Artist Assistant/Secretary to the Music Director • Vincenzo Natale, Chauffeur/Valet • Alexander Steinbeis, Artistic Administration Coordinator

ADMINISTRATIVE STAFF/ PRODUCTION Christopher W. Ruigomez, Operations Manager

Felicia A. Burrey, Chorus Manager • Keith Elder, Production Coordinator • Stephanie Kluter, Assistant to the Orchestra Manager • Timothy Tsukamoto, Orchestra Personnel Coordinator BOSTON POPS Dennis Alves, Director ofArtistic Programming, Boston Pops

Jana Gimenez, Production Manager • Julie Knippa, Assistant to the Manager BUSINESS OFFICE

Sarah J. Harrington, Director ofPlanning and Budgeting Craig R. Kaplan, Controller Roberta Kennedy, Manager, Symphony Shop

Lamees Al-Noman, Cash Accountant • Yaneris Briggs, Accounts Payable Supervisor • Yuelei Chen, Senior Accountant • Michelle Green, Executive Assistant to the Director ofFinance and Business Affairs • Scott Langill, Accounting Manager • Maya Levy, Budget Assistant • Pam Netherwood, Assistant Manager, Symphony Shop • John O'Callaghan, PayrollAccountant • Harriet Prout, StaffAccountant • Taunia Soderquist, Assistant Payroll Accountant/Accounting Clerk DEVELOPMENT

Ellen-Marie Bonner, Director ofDevelopment Administration and Services Jo Frances Kaplan, Director ofFoundation and Government Support Elizabeth P. Roberts, Director ofIndividual Giving

Howard L. Breslau, Major Gifts Officer • Meridith A. Bryant, Executive Assistant to the Director of Development • Rebecca R. Crawford, Director ofDevelopment Communications • Sally Dale, Manager of Development Operations and Stewardship • Rebecca Ehrhardt, Director ofMajor Gifts • Sandy Eyre, Tanglewood Development Coordinator • Sarah Fitzgerald, Supervisor of Gift Processing and Donor Records • Kate M. Gerlach, Major Gifts Officer • Megan Gillick, Associate Director, Tanglewood Development • Julie Hausmann, Stewardship Program Coordinator • Deborah Hersey, Manager ofDevelopment Information Systems • Laura Hoag, Program Coordinator, Corporate Programs • Mary Hubbell, Development Research

Analyst • Justin Kelly, Data Production Coordinator • Patricia Kramer, Program Manager, Corporate Pro- grams • Amanda McConoughey, Administrative Assistant to Major Gift Officers • Destiny McDonald, Major Gifts Coordinator • Robert McGill, Grants Coordinator • Suzanne Page, Manager ofBoardAdminis- tration • Elizabeth Parsons, Campaign Events Manager • Gerrit Petersen, Associate Director, Foundation and Government Support • George Saulnier, Gift Processing and Donor Records Coordinator • Dean A. Schwartz, Manager of Gift Planning • Julie Schwartz, Director, Boston Symphony Annual Fund • Phoebe Slanetz, Assistant Director ofDevelopment Research • Mary E. Thomson, Program Manager, Corporate Programs • Tracy Wilson, Director ofTanglewood Development and Community Relations EDUCATION AND COMMUNITY PROGRAMS /ARCHIVES

Myran Parker-Brass, Director ofEducation and Community Programs Bridget P. Carr, Archivist-Position endowed by Caroline Dwight Bain

Amy Brogna, Coordinator ofEducation Programs • Walter Ross, Administrative Assistant, Education Programs EVENT SERVICES Cheryl Silvia Lopes, Director ofEvent Services

Lesley Ann Cefalo, Special Events Manager/Assistant Front of House Manager • Sid Guidicianne, Front ofHouse Manager • Melissa Jenkins, Assistant to the Director ofEvent Services • Jessica Ricci, Tanglewood Events Coordinator • Kyle Ronayne, Food and Beverage Manager HUMAN RESOURCES

Anne Marie Coimbra, Human Resources Manager • Dorothy DeYoung, Benefits Manager INFORMATION TECHNOLOGY Robert Bell, Director ofInformation Technology

Andrew Cordero, Special Projects Coordinator • John Lindberg, Help Desk Administrator • Michael Pijoan, Assistant Director ofInformation Technology • Brian Van Sickle, Software Support Representative PUBLIC RELATIONS Bernadette M. Horgan, Director ofMedia Relations Caleb Cochran, Media Relations Assistant/Assistant to the Director ofPublic Relations and Marketing •

• Sean J. Kerrigan, Media Relations Associate Amy E. Rowen, StaffAssistant PUBLICATIONS Marc Mandel, Director ofProgram Publications

Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/ Boston Pops Program Editor

SALES, SUBSCRIPTION, AND MARKETING

Aimee Bida, Graphic Designer • Gretchen Borzi, Print Production Coordinator • Helen N.H. Brady, Tourism & Group Sales Manager • Kristin Brouwer, Subscription Representative • Susan Dunham, Sym- phonyCharge Assistant • Kerry Ann Hawkins, Graphic Designer • James Jackson, Call Center Manager • Amy Kochapski, Assistant Call Center Manager • Michele Lubowsky, Subscription Representative • Mara Luzzo, Manager of Subscriptions and Telemarketing Programs • Jason Lyon, Ticket Exchange/Customer Service Assistant, SymphonyCharge • Kathryn Miosi, Subscription Data Entry Coordinator • Sarah L. Manoog, Marketing Manager • Michael Miller, SymphonyCharge Manager • Danielle Pelot, Marketing Coordinator/Advertising • Julie Quinlan, Assistant Subscription Manager • John P. Ryan, Manager of Internet Marketing

Box Office Russell M. Hodsdon, Manager • Kathleen Kennedy, Assistant Manager • Box Office

• • • Representatives Mary J. Broussard Cary Eyges Lawrence Fraher Arthur Ryan SYMPHONY HALL OPERATIONS

Robert L. Gleason, Facilities Manager TANGLEWOOD MUSIC CENTER

Patricia Brown, Associate Director • Julie Giattina, Coordinator • Katherine A. Lempert, Manager of Student Services andAlumni Relations TANGLEWOOD OPERATIONS

David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires

Ronald T. Brouker, Supervisor of Tanglewood Crew • Robert Lahart, Electrician • Peter Socha, Head Carpenter

Tanglewood Facilities Staff Robert Casey • Steve Curley • Rich Drumm • Scott Tenney

Glass House Leslie Bissaillon, Manager VOLUNTEER OFFICE Patricia Krol, Director of Volunteer Services

Emily Smith, Administrative Assistant • Coreen Wilson, Project Coordinator

The Tanglewood Festival

In August 1934 a group of music-loving summer residents of the Berkshires organized a series of three outdoor concerts at Interlaken, to be given by members of the New York Philharmonic under the direction of Henry Hadley. The venture was so successful that the promoters incorporated the Berkshire Symphonic Festival and repeated the experiment during the next summer. The Festival Committee then invited Serge Koussevitzky and the Boston Symphony Orchestra to take part in the following year's concerts. The orchestra's Trustees accepted, and on August 13, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshires (at Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The series again consisted of three concerts and was given under a large tent, drawing a total of nearly 15,000 people. In the winter of 1936 Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered

Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and mead- ows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, and on

August 5, 1937, the festival's largest crowd so far assembled under a tent for the first Tangle- wood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival's second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the "Forest Murmurs" from Siegfried, music too delicate to be heard through the downpour. At the intermission, Miss Gertrude Robinson Smith, one of the festival's founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money had been raised to begin active planning for a "music pavilion." Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the immediate needs of the festival and, more important, went well beyond the budget of $100,000. His second, simplified plans were still too expensive; he finally wrote that if the Trustees insisted on remaining within their budget, they would have "just a shed," "which any builder could accomplish without the aid of an architect." The

After the storm ofAugust 12, 1937, which precipitated afundraising drivefor the construction ofthe Tanglewood Shed Trustees then turned to Stockbridge engineer Joseph Franz to make further simplifications in Saarinen's plans in order to lower the cost. The building he erected was inaugurated on the evening of August 4, 1938, when the first concert of that year's festival was given, and re- mains, with modifications, to this day. It has echoed with the music of the Boston Sym- phony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Or- chestra Canopy, along with other improvements, produced the Shed's present world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as "The Serge Koussevitzky Music Shed," recognizing the far-reaching vision of the BSO's legendary music director.

In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and its reputation for excellence that it attracted nearly 100,000 visitors. With the Boston Symphony Orchestra's acquisition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood's public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmod- ed Theatre- Concert Hall (which was used continuously with only minor modifications since 1941), and for improved Tanglewood Music Center facilities. Inaugurated on July 7, 1994, Seiji Ozawa Hall—designed by the architectural firm William Rawn Associates of Boston in collaboration with acoustician R. Lawrence Kirkegaard &. Associates of Downer's

Grove, Illinois, and representing the first new concert facility to be constructed at Tangle- wood in more than a half-century—now provides a modern venue for TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orches-

A "Special Focus" Exhibit at the Tanglewood Visitor Center: An Aaron Copland Centennial Tribute

To celebrate the 100th anniversary of Aaron Copland's birth (November 14, 1900), the BSO Archives has mounted an exhibit at the Tanglewood Visitor Center mat surveys aspects of Copland's career as composer and teacher, and his long association with the BSO and Tanglewood. From their first meeting in 1924, Copland and the BSO's newly appointed music director Serge Koussevitzky became close friends and musical collaborators. Under Koussevitzky the BSO gave five world premieres of Copland's works and made numerous recordings of his music. Koussevitzky appointed Aaron Copland head of the Berkshire Music Center's composition faculty when

Koussevitzky 's dream of a music school was realized in 1940. Copland is shown here circa 1947 with the Berkshire Music Center (now the Tanglewood Music Center) Student Council on the Tanglewood lawn. In addition to items preserved in the BSO Archives, the exhibit features photographs of Copland taken by close friend and professional photographer Victor Kraft. Those in the exhibit were reproduced from Kraft's original prints in the Aaron Copland Collection at the Library of

Congress. The BSO is grateful to Mrs. Rheba Kraft and the Aaron Copland Fund for Music for granting permission to reproduce and exhibit Victor Kraft's photographs here to mark the 100th anniversary of Aaron Copland's birth. tra throughout the summer. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center's Leonard Bernstein Campus, as described below. Today Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there are weekly chamber music concerts, Friday-evening Prelude Concerts, Saturday-morning Open Rehearsals, the annual Festival of Contempo- rary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and in recent years a weekend- long Jazz Festival has been added to close the summer. The season offers not only a vast quantity of music but also a vast range of musical forms and styles, all of it presented with a regard for artistic excellence that makes the festival unique.

The Tanglewood Music Center

Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has become one of the world's most influential centers for advanced musical study. Serge Kous- sevitzky, the Boston Symphony Orchestra's music director from 1924 to 1949, founded the school with the intention of creating a premier music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Symphony Orchestra musicians and other specially invited artists.

The school opened formally on July 8, 1940, with speeches and music. "If ever there was a time to speak of music, it is now in the New World," said Koussevitzky, alluding to the war then raging in Europe. Randall Thompson's Alleluia for unaccompanied chorus, specially written for the ceremony, arrived less than an hour before the event began but made such an impression that it continues to be performed at the opening ceremonies each summer. The TMC was Koussevitzky 's pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as the BSO's music director. Charles Munch, his successor in that position, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school's programs. In 1963, new BSO Music Director Erich Leinsdorf took over the school's reins, returning to Koussevitzky's hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO's programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher served as the TMC's Artistic Director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. In 1997, Ellen Highstein was appointed Director of the Tanglewood

Music Center, operating under the artistic supervision of Seiji Ozawa. The Tanglewood Music Center Fellowship Program offers an intensive schedule of study and performance for advanced instrumentalists, singers, conductors, and composers who have completed most of their formal training in music. Besides the continuing involve- ment of Seiji Ozawa and individual BSO members; master classes and coachings led by distinguished guest faculty; the Conducting Class led by Robert Spano, head of the TMC's

The Tanglewood Music Center is supported in part by the National Endowment for the Arts. .

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evervtnino'•ytning yJuilliard School's Eric Booth, and a week-long workshop on Bach cantata performance led by Craig Smith, the director of the Emmanuel Music Ensemble based at Boston's Emmanuel Church. Also at Tanglewood each summer, the Boston University Tanglewood Institute sponsors a variety of programs that offer individual and ensemble instruction to talented younger students, mostly of high-school age.

It would be impossible to list all the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American

symphony orchestras, and 30% of all first-chair players, studied at the TMC. Besides Mr. Ozawa, prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, the late Leonard Bernstein, David Del Tredici, Christoph von Dohnanyi, the late Jacob Druckman, Lukas Foss, John Harbison, Gilbert Kalish (who headed the TMC faculty for many years), Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Leontyne Price, Ned Rorem, Sanford Sylvan, Cheryl Studer, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman.

Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Kousse- vitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the

Tanglewood Music Center maintains its commitment to the future as one of the world's most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Seiji Ozawa in rehearsal with the TMC Orchestra in Ozawa Hall *

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'TDK is proud to sponsor the 12th annual Tanglewood Free Lawn Passes for Children program, bringing great music alive for thousands of children every summer. IN CONSIDERATION OF OUR PERFORMING ARTISTS AND PATRONS PLEASE NOTE: AS OFTHIS SEASON, SMOKING IS RESTRICTED TO DESIGNATED AREAS ONTHETANGLEWOOD GROUNDS. MAPS SHOWING THESE AREAS ARE AVAILABLE AT THE TANGLEWOOD VISITOR CENTER AND AT ALL ENTRY GATES.

Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Please do not bring food or beverages into the Music Shed or Ozawa Hall. PLEASE NOTE THAT THE USE OF AUDIO OR VIDEO RECORDING EQUIPMENT DURING CONCERTS AND REHEARSALS IS PROHIBITED, AND THAT VIDEO CAMERAS MAY NOT BE CARRIED INTO THE MUSIC SHED OR OZAWA HALL DURING CONCERTS OR REHEARSALS. Cameras are welcome, but please do not take pictures during the performance as the noise and flash may disturb other listeners as well as the performers. IN CONSIDERATION OFTHE PERFORMERS AND THOSE AROUND YOU, CELLULAR PHONES, PAGERS, AND WATCH ALARMS SHOULD BE SWITCHED OFF DURING CONCERTS. THANKYOU FORYOUR COOPERATION.

TANGLEWOOD INFORMATION

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5165. For weekly program information, please call the Tanglewood Concert Line at (413) 637-1666.

BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. until intermission; and Sunday from 10 a.m. until intermission. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200; or call TICKETMASTER at (617) 931-2000 in Boston; (413) 733-2500 in western Massachusetts; (212) 307-7171 in New York City; or 1-800-347-0808 in other areas. Tickets can also be ordered online at www.bso.org. Please note that there is a service charge for all tickets purchased by phone or on the web.

THE BSO's WEB SITE at www.bso.org provides information on all Boston Symphony and

Boston Pops activities at Symphony Hall and at Tanglewood, and is updated regularly.

FOR PATRONS WITH DISABILITIES, an access service center and parking facilities are located at the Main Gate. Accessible restrooms, pay phones, and water fountains are located on the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637- 5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289.

LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price often.

OPEN REHEARSALS by the Boston Symphony Orchestra are held each Saturday morning at 10:30, for the benefit of the orchestra's Pension Fund. Tickets are $15 and available at the

Tanglewood box office. A half-hour pre-rehearsal talk about the program is offered free of charge to ticket holders, beginning at 9:30 in the Shed. Open Rehearsal subscriptions for four, six, or eight rehearsals are also available.

SPECIAL LAWN POLICY FOR CHILDREN: On the day of the concert, children under the age of twelve will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE, thanks to a generous grant from TDK, a world leader in digital, audio, and video recording solutions. Up to four free children's lawn tickets are offered per parent or guardian for 8XWri 32XBei

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&TDK each concert, but please note that children under the age of five must be seated on the rear half of the lawn. Please note, too, that children under the age of five are not permitted in the Kousse- vitzky Music Shed or in Seiji Ozawa Hall during concerts. The free ticket policy does not extend to groups of children or to Popular Artists concerts. Organized children's groups (15 or more) should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates.

STUDENT LAWN DISCOUNT: Students twelve and older with a valid student ID receive a 50% discount on lawn tickets for Friday-night BSO concerts. Tickets are availaable only at the Main Gate box office, and only on the night of the performance. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALK- WAYS are located in the area of the Main Gate and many of the parking areas.

THE LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official.

IN CASE OF SEVERE LIGHTNING, visitors to Tanglewood are advised to take the usual pre- cautions: avoid open or flooded areas; do not stand underneath a tall isolated tree or utility pole; and avoid contact with metal equipment or wire fences. Lawn patrons are advised that your auto- mobile will provide the safest possible shelter during a severe lightning storm. Readmission passes will be provided.

FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate.

PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events).

THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office.

FOOD AND BEVERAGES can be obtained in the cafes on either side of the lawn and at other locations as noted on the map. Visitors are invited to picnic before concerts.

THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children's leisure clothing, accessories, posters, stationery, and gifts. Daytime hours are 10 a.m. to 4 p.m. Monday through Friday, 9 a.m. to 4 p.m. on Saturday, and 10 a.m. to 6 p.m. on Sunday. Evening hours are from 5:30 p.m. until the grounds close on Friday, from 6 p.m. on Saturday, and from 7 p.m. through intermission on Ozawa Hall concert nights. Please note that the Glass House is closed during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

THE TANGLEWOOD MUSIC STORE, adjacent to the Main Gate and operated by the Bos- ton Symphony Orchestra, stocks music books, recordings, scores, sheet music, and musical supplies. Except on Sunday, when it is open from noon to 6 p.m., the Tanglewood Music Store's hours are the same as those for the gift shops. In addition, a branch of the Tanglewood Music

Store is located by the Tanglewood Cafe and open during cafe hours.

Tanglewood Visitor Center

The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. Staffed by volunteers, the Visitor

Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tanglewood Music Center, as well as the early history of the estate.

You are cordially invited to visit the Center on the first floor of the Tanglewood Manor House. During July and August, daytime hours are from 10 a.m. to 4 p.m. Monday through Friday, from 9 a.m. to 4 p.m. on Saturday, and from noon to 5 p.m. on Sunday, with additional hours Friday and Saturday evenings from 6 p.m. until twenty minutes after the con-

cert. The Visitor Center is also open during concert intermissions, and for twenty minutes

after each concert. In June and September the Visitor Center is open only on Saturdays and

Sundays, from 10 a.m. to 4 p.m. There is no admission charge. —

SEIJI OZAWA

The 1999-2000 season is Seiji Ozawa's twenty-seventh as music director of the Boston Symphony Orchestra. Since becoming the BSO's music director in 1973 he has devoted himself to the orchestra for more than a quarter-century, the longest tenure of any music director currently active with a major orchestra, and paralleled in BSO history only by the twenty-five-year tenure of the legendary Serge Koussevitzky. In recent years, numerous honors and achieve- ments have underscored Mr. Ozawa's standing on the international music scene. In December 1998, Mr. Ozawa was named a Chevalier de la Legion d'Honneur by French President Jacques Chirac, recognizing not only his work as a conductor, but also his support of French composers, his devotion to the French public, and his work at the Paris Opera. In De- cember 1997 he was named "Musician of the Year" by Musical America, the international directory of the performing arts. In February 1998, fulfilling a longtime ambition of uniting musicians across the globe, he closed the Opening Ceremonies at the Winter Olympics in Nagano, Japan, leading the "Ode to Joy" from Beethoven's Ninth Symphony with performers including six choruses—in Japan, Australia, China, Germany, South Africa, and the United States linked by satellite. In 1994 he became the first recipient ofJapan's Inouye Sho (the "Inouye Award," named after this century's preeminent Japanese novelist) recognizing lifetime achievement in the arts. 1994 also saw the inauguration of the new Seiji Ozawa Hall at Tanglewood, the BSO's summer home in western Massachusetts. At Tanglewood he has also played a key role as both teacher and administrator in the activities of the Tanglewood Music Center, the

BSO's summer training academy for young professional musicians from all over the world. In 1992 Mr. Ozawa co-founded the Saito Kinen Festival in Matsumoto, Japan, in memory of his teacher at Tokyo's Toho School of Music, Hideo Saito, a central figure in the cultivation of Western music and musical technique in Japan. Also in 1992 he made his debut with the Metro- politan Opera in New York. Besides his concerts throughout the year with the Boston Sym- phony, he conducts the Berlin Philharmonic and Vienna Philharmonic on a regular basis, and appears also with the New Japan Philharmonic, the London Symphony, the Orchestre National de France, La Scala in Milan, and the Vienna Staatsoper. Besides his many Boston Symphony recordings, he has recorded with the Berlin Philharmonic, the Vienna Philharmonic, the Saito Kinen Orchestra, the London Philharmonic, the Orchestre National de France, the Orchestre de Paris, the Philharmonia of London, the San Francisco Symphony, the Chicago Symphony, and the Toronto Symphony, among others. In the fall of 2002, following that summer's Tangle- wood season, he will begin a new phase in his artistic life, stemming from his increasing interest in and affinity for opera: he will become music director of the Vienna State Opera, where he has maintained a long association as a guest conductor leading productions in that house as well as concerts with the Vienna Philharmonic in Vienna, at Salzburg, and on tour.

Throughout his tenure as music director of the Boston Symphony, Mr. Ozawa has maintained the orchestra's distinguished reputation both at home and abroad, with concerts in Sym- phony Hall, at Tanglewood, on tours to Europe, Japan, Hong Kong, China, and South America, and across the United States. He has upheld the BSO's commitment to new music through the frequent commissioning of new works, including a series of centennial commissions marking the orchestra's hundredth birthday in 1981 and a series of works celebrating the Tanglewood Music Center's fiftieth anniversary in 1990. In addition, he and the orchestra have recorded nearly 140 works, representing more than fifty different composers, on ten labels. Mr. Ozawa won his first Emmy award in 1976, for the BSO's PBS television series "Evening at Symphony." He received his second Emmy in September 1994, for Individual Achievement in Cultural Programming, for "Dvorak in Prague: A Celebration," with the Boston Symphony Orchestra, a concert subsequently released by Sony Classical in both audio and video formats. Mr. Ozawa holds honorary doctor of music degrees from the University of Massachusetts, the New England Conservatory of Music, Wheaton College in Norton, Massachusetts, and Harvard University. Born in 1935 in Shenyang, China, Seiji Ozawa studied music from an early age and later graduated with first prizes in composition and conducting from Tokyo's Toho School of Music.

In 1959 he won first prize at the International Competition of Orchestra Conductors held in Besancon, France. Charles Munch, then music director of the Boston Symphony, subsequently invited him to attend the Tanglewood Music Center, where he won the Koussevitzky Prize for outstanding student conductor in 1960. While working with Herbert von Karajan in West Ber- lin, Mr. Ozawa came to the attention of Leonard Bernstein, who appointed him assistant conductor of the New York Philharmonic for the 1961-62 season. He made his first professional concert appearance in North America in January 1962, with the San Francisco Symphony. He was music director of the Chicago Symphony Orchestra's Ravinia Festival for five summers beginning in 1964, music director of the Toronto Symphony from 1965 to 1969, and music director of the San Francisco Symphony from 1970 to 1976, followed by a year as that orchestra's music adviser. He conducted the Boston Symphony Orchestra for the first time in 1964, at Tanglewood, and made his first Symphony Hall appearance with the orchestra in January 1968. He became an artistic director of Tanglewood in 1970 and began his tenure as music director of the BSO in 1973, following a year as music adviser. Today, some 80% of the BSO's members have been appointed by Seiji Ozawa. The Boston Symphony itself stands as eloquent testimony not only to his work in Boston, but to Mr. Ozawa's lifetime achievement in music. Mr. Ozawa's compact discs with the Boston Symphony Orchestra include, on Philips, the complete cycle of Mahler symphonies, music of Britten, Ravel, and Debussy with soprano Sylvia McNair, Richard Strauss's Elektra, Schoenberg's Gurrelieder, and Bartok's Concerto for

Orchestra and complete Miraculous Mandarin. Among his EMI recordings is the Grammy- winning "American Album" with Itzhak Perlman, including music for violin and orchestra by Bernstein, Barber, and Lukas Foss. Recordings on Deutsche Grammophon include Mendels- sohn's complete incidental music to A Midsummer Night s Dream, violin concertos of Bartok and Moret with Anne-Sophie Mutter, and Liszt's piano concertos with Krystian Zimerman. Other recordings include Faure's Requiem, Berlioz's Requiem, Rachmaninoff's Third Piano Concerto with Evgeny Kissin, and Tchaikovsky's opera Pique Dame, on RCA Victor Red Seal; music for piano left-hand and orchestra by Ravel, Prokofiev, and Britten with Leon Fleisher, and Strauss's Don Quixote with Yo-Yo Ma, on Sony Classical; and Beethoven's five piano concertos and Choral Fantasy with Rudolf Serkin, on Telarc.

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Summer Retail Hours: Mon.-Sat. 10:00 AM-5:30 PM BERKSHIRE RECORD OUTLET V Rte. 102, Lee, MA Website: www.broinc.com (413) 243-4080 *Valeria Vilker Kuchment Robert Barnes David and Ingrid Kosowsky chair Burton Fine *Tatiana Dimitriades Michael Zaretsky Theodore W. and Evelyn Berenson Marc Jeanneret Family chair *Mark Ludwig *Si-Jing Huang Helene R. Cahners-Kaplan Stephanie Morris Marryott and and Carol R. Goldberg chair Franklin Marryott chair J. *Rachel Fagerburg *Nicole Monahan *Edward Gazouleas Catherine and Paul Buttenwieser *Kazuko BOSTON SYMPHONY chair Matsusaka ORCHESTRA *Wendy Putnam Cellos 1999-2000 Mary B. Saltonstall chair Jules Eskin *Xin Ding Seiji Ozawa Principal Kristin and Roger Servison chair Music Director Philip R. Allen chair, endowed *Sae Shiragami Ray and Maria Stata in perpetuity in 1969 Music Directorship, *Yu Yuan Martha Babcock fullyfunded in perpetuity Assistant Principal Second Violins Bernard Haitink Vernon and Marion Alden chair, Marylou Speaker Churchill Principal Guest Conductor endowed in perpetuity in 1977 Principal LaCroix Family Fund, Sato Knudsen fullyfunded in perpetuity Carl SchoenhofFamily chair, Stephen and Dorothy Weber chair fullyfunded in perpetuity Joel Moerschel First Violins Vyacneslav Uritslcy Sandra and David Bakalar chair Malcolm Lowe Assistant Principal Charlotte and Irving W. Rabb Luis Leguia Concertmaster chair, endowed in perpetuity Robert Bradford Newman chair, Charles Munch chair, in 1977 fullyfunded in perpetuity fullyfunded in perpetuity Carol Procter Tamara Smirnova Ronald Knudsen Edgar and Shirley Grossman Lillian and Nathan R. Miller Associate Concertmaster chair chair Helen Horner Mclntyre chair, Ronald Feldman endowed in perpetuity in 1976 Joseph McGauley Shirley Richard Richard C and Ellen E. Paine Nurit Bar-Josef and]. Fennell chair, funded in perpetuity chair, fullyfunded in perpetuity Assistant Concertmaster fully *Jerome Patterson Robert L. Beal, and Enid L. and Ronan Lefkowitz Charles andfoAnne Dickinson Bruce A. Beal chair, endowed in David H. and Edith C Howie chair perpetuity in 1980 chair, fullyfunded in perpetuity *Nancy Bracken Jonathan Miller Assistant Concertmaster *Aza Raykhtsaum Rosemary and Donald Hudson Edward and Bertha C. Rose chair *Bonnie Bewick chair Bo Youp Hwang *Owen Young *James Cooke fohn and Dorothy Wilson chair, fohn F. Cogan,fr., and *Victor Romanul fullyfunded in perpetuity Mary L. Cornille chair, Bessie Pappas chair Lucia Lin fullyfunded in perpetuity *Catherine French Forrest Foster Collier chair *Andrew Pearce *Kelly Barr Ikuko Mizuno Gordon and Mary Ford Kingsley Carolyn and George Rowland *Elita Kang Family chair chair *Haldan Martinson Amnon Levy *Alexander Velinzon Basses Dorothy Q. and David B. Edwin Barker Violas Arnold, fr., chair, fullyfunded in Principal perpetuity Steven Ansell Harold D. Hodgkinson chair, *Sheila Fiekowsky Principal endowed in perpetuity in 1974 Muriel C. Kasdon and Marjorie Charles S. Dana chair, Lawrence Wolfe C Paley chair endowed in perpetuity in 1970 Assistant Principal *Jennie Shames Maria Nistazos Stata chair, Assistant Principal Ruth and Carl]. Shapiro chair, fullyfunded in perpetuity Anne Stoneman chair, fullyfunded in perpetuity Joseph Hearne fullyfunded in perpetuity Leith Family chair, * Participating in a system Ronald Wilkison fullyfunded in perpetuity rotated seating of Lois and Harlan Anderson chair, Dennis Roy § Substituting, Tanglewood 2000 fullyfunded in perpetuity \On sabbatical leave Joseph andfan Brett Hearne chair °On leave .

tjohn Salkowski Bass Clarinet Tuba Erich and Edith Heymans chair Craig Nordstrom Chester Schmitz *Robert Olson Farla and Harvey Chet Margaret and William C. *James Orleans Krentzman chair, fullyfunded in Rousseau chair, fullyfunded in *Todd Seeber perpetuity perpetuity *John Stovall Bassoons Timpani Flutes Richard Svoboda Everett Firth Principal Jacques Zoon Sylvia Shippen Wells chair, EdwardA. chair, endowed Principal Taft endowed in perpetuity in 1974 in perpetuity in 1974 Walter Piston chair, endowed in perpetuity in 1970 Richard Ranti Percussion Fenwick Smith Associate Principal Thomas Gauger Myra and Robert Kraft chair, Peter andAnne Brooke chair, Contrabassoon endowed in perpetuity in 1981 fullyfunded in perpetuity Elizabeth Ostling Gregg Henegar Frank Epstein Helen Rand Thayer chair Associate Principal Peter Andrew Lurie chair, Marian Gray Lewis chair, fullyfunded in perpetuity Horns fullyfunded in perpetuity J. William Hudgins James Sommerville Timothy Genis Principal Piccolo Assistant Timpanist Helen Slosberg/Edna °Geralyn Coticone Sagojf Mr. and Mrs. Edward H. Linde S. Kalman chair, endowed Evelyn and C. Charles Marran chair in perpetuity in 1974 chair, endowed in perpetuity in 1979 Richard Sebring Harp Associate Principal § Linda Toote Ann Hobson Pilot Margaret Andersen Congleton Principal chair, fullyfunded in perpetuity Oboes Willona Henderson Sinclair Daniel Katzen chair Principal Elizabeth B. Storer chair Mildred B. Remis chair, endowed Jay Wadenpfuhl Voice and Chorus in perpetuity in 1975 Richard Mackey Mark McEwen John Oliver Diana Osgood Tottenham chair Tanglewood Festival Chorus James and Tina Collias chair Jonathan Menkis Conductor Keisuke Wakao Alan J. and Suzanne W Dworsky Assistant Principal Trumpets chair, fullyfunded in perpetuity Elaine and Rosenfeld chair Jerome Charles Schlueter Principal Librarians English Horn Roger Louis Voisin chair, Marshall Burlingame Robert Sheena endowed in perpetuity in 1977 Principal Beranek chair, fullyfunded Peter Chapman Lia and William Poorvu chair in perpetuity Ford H. Cooper chair William Shisler Clarinets Thomas Rolfs John Perkel Assistant Principal William R. Hudgins Nina L. and Eugene B. Doggett Principal Assistant Conductors chair Ann S.M. Banks chair, endowed Federico Cortese in perpetuity in 1977 Trombones Anna E. Finnerty chair Scott Andrews Ilan Volkov Ronald Barron Thomas and Dola Sternberg chair Principal Thomas Martin Personnel Managers J P. and Mary B. Barger chair, Associate Principal Larsen & fullyfunded in perpetuity Lynn G. Eflat clarinet Norman Bolter Bruce M. Creditor Stanton W. and Elisabeth K. Davis chair, fullyfunded in Bass Trombone Stage Manager perpetuity Douglas Yeo Peter Riley Pfitzinger John Moors Cabot chair, Position endowed by fullyfunded in perpetuity Angelica L. Russell .

Memories of Tanglewood. . You can take them with you!

Visit our Tanglewood Music Store

Located at the Main Gate Hours—same as the Glass House at the Main Gate Wide selection of classical music Weekly concert selections BSO and guest artists • Compact discs • Cassettes • Sheet music, instrumental and vocal • Full scores • Books

Visit the new Music Store by the Tanglewood Cafe,

open during cafe hours. Glass House Gift Shop

Located at the Main Gate and Highwood Gate Exciting designs and colors • Adult and children's clothing • Accessories • Stationery, posters, books • Giftware

MasterCard/VISA/American Express/Diners Club/Discover Card MAIN GATE: HIGHWOOD GATE: Closed during performances Closed during performances Monday through Friday: 10am to 4pm Friday: 5:30pm to closing of the grounc Friday: 5:30pm to closing of the grounds Saturday: 9am to 4pm Saturday: 9am to 4pm 6pm to closing of the ground 6pm to closing of the grounds Sunday: noon to 6pm Sunday: 10am to 6pm (Glass House) Weeknight concerts, Seiji Ozawa Hall: noon to 6pm (Music Store) 7pm through intermission A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA

Now in its 119th season, the Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, and has continued to uphold the vision of its founder, the philanthropist, Civil War veteran, and amateur musician Henry Lee Higginson, for more than a century.

Under the leadership of Seiji Ozawa, its music director since 1973, the Boston Symphony Orchestra has performed throughout the United States, as well as in Europe, Japan, Hong Kong, South America, and China, and reaches audiences numbering in the millions through its performances on radio, television, and recordings. It plays an active role in commissioning new works from today's most important composers; its summer season at Tanglewood is regarded as one of the world's most important music festivals; it helps develop the audience of the future through BSO Youth Concerts and through a variety of outreach programs involv- ing the entire Boston community; and, during the Tanglewood season, it sponsors the Tangle- wood Music Center, one of the world's most important training grounds for young composers, conductors, instrumentalists, and vocalists. The orchestra's virtuosity is reflected in the concert and recording activities of the Boston Symphony Chamber Players, the world's only permanent chamber ensemble made up of a major symphony orchestra's principal players. The activities of the Boston Pops Orchestra have established an international standard for the performance of lighter kinds of music. Overall, the mission of the Boston Symphony Orchestra is to foster and maintain an organization dedicated to the making of music consonant with the highest aspirations of musical art, creating performances and providing educational and training programs at the highest level of excellence. This is accomplished with the continued support of its audiences, governmental assistance on both the federal and local levels, and through the generosity of many foundations, businesses, and individuals. Henry Lee Higginson dreamed of founding a great and permanent orchestra in his home town of Boston for many years before that vision approached reality in the spring of 1881.

The following October the first Boston Symphony Orchestra concert was given under the direction of conductor Georg Henschel, who would remain as music director until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Boston Music Hall;

Symphony Hall, one of the world's most highly regarded concert halls, was opened in 1900. Henschel was succeeded by a series of German-born and -trained conductors—Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler—culminating in the appointment of the legendary Karl Muck, who served two tenures as music director, 1906-08 and 1912-18.

Meanwhile, in July 1885, the musicians of the Boston Symphony had given their first "Prom-

Thefirst photograph, actually a collage, ofthe Boston Symphony Orchestra under Georg Henschel, taken 1882 enade" concert, ottering both music and refreshments, and fulfilling Major Higginson's wish to give "concerts oi a lighter kind oi music." These concerts, soon to be given in the spring- time and renamed first "Popular" and then "Pops," fast became a tradition.

In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Francisco. Recording, begun with the Victor Talking Machine Company (predecessor to RCA Victor) in 1917, continued with increasing frequency, as did radio broadcasts. In 1918 Henri Rabaud was engaged as conductor; he was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French-ori- ented tradition which would be maintained, even during the Russian-born Serge Koussevitz-

L\ 's time, with the employment of many French-trained musicians. The Koussevitzky era began in 1924. His extraordinary musicianship and electric personality proved so enduring that he served an unprecedented term of twenty- five years. Regular radio broadcasts of Boston Symphony concerts began during Koussevitzky 's years as music director. In 1936 Koussevitzky led the orchestra's first concerts in the Berkshires; a year later he and the players took up annual summer residence at Tanglewood. Koussevitzky passion- arch - shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center). In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. The Boston Pops Orchestra celebrated its hundredth birthday in 1985 under Mr. Williams's baton. Keith Lockhart began his tenure as twentieth conductor of the Boston Pops in May 1995, succeeding Mr. Williams. Charles Munch followed Koussevitzky as music director of the Boston Symphony Or- chestra in 1949. Munch continued Koussevitzky s practice of supporting contemporary com-

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tenure the orchestra toured abroad for the first time and its continuing series of Youth Con- certs was initiated. Erich Leinsdorf began his seven-year term as music director in 1962. Leinsdorf presented numerous premieres, restored many forgotten and neglected works to the repertory, and, like his two predecessors, made many recordings for RCA; in addition, many concerts were televised under his direction. Leinsdorf was also an energetic director of the Tanglewood Music Center; under his leadership a full-tuition fellowship program was established. Also during these years, in 1964, the Boston Symphony Chamber Players were founded. William Steinberg succeeded Leinsdorf in 1969. He conducted a number of American and world premieres, made recordings for Deutsche Grammophon and RCA, appeared regularly on television, led the 1971 European tour, and directed concerts on the east coast, in the south, and in the mid-west. Now in his twenty-seventh season as the BSO's music director, Seiji Ozawa became the

thirteenth conductor to hold that post in the fall of 1973, following a year as music adviser and having been appointed an artistic director of the Tanglewood Festival in 1970. During his tenure Mr. Ozawa has continued to solidify the orchestra's reputation both at home and abroad. He has also reaffirmed the BSO's commitment to new music, through a series of centennial commissions marking the orchestra's 100th birthday, a series of works celebrating the fiftieth anniversary of the Tanglewood Music Center in 1990, and a continuing series of commissions from composers including Henri Dutilleux, Lukas Foss, Alexander Goehr, John Harbison, Hans Werner Henze, Leon Kirchner, Peter Lieberson, Bernard Rands, Sir Michael

Tippett, and Yehudi Wyner. Under his direction the orchestra has also expanded its recording activities, to include releases on the Philips, Telarc, Sony Classical/CBS Masterworks, EMI/Angel, Hyperion, New World, and Erato labels. In 1995 Seiji Ozawa and the Boston Symphony Orchestra welcomed Bernard Haitink as Principal Guest Conductor, in which capacity Mr. Haitink conducts and records with the orchestra, and has also taught at Tangle- wood.

Today the Boston Symphony Orchestra, Inc., presents more than 250 concerts annually. It is an ensemble that has richly fulfilled Henry Lee Higginson's vision of a great and permanent orchestra in Boston.

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With a Friends membership you could enjoy these benefits:

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• A 10% discount at Tanglewood lawn tickets good for regular or spe-

Glass House I and II cial-priced BSO concerts

• Advanced registration for the • Priority ticket assistance at the Talks & Walks lecture series Friends Office for Koussevitzky members • Free admission to performances of the Tanglewood Music Center For more information on becoming a Friend of Tanglewood please call Fellows in Ozawa Hall the Friends Office at 413-637- • The Tanglewood Advance Ticket 5261 during the summer or 617- Order Form 638-9267 from September through • Dining privileges at the Tent Club, June. the Highwood Club, or at Seranak • A closed rehearsal preceded by 2000 a private reception and lecture Tanglewood

More music to your ears.

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Table of Contents celebrating the aaron copland centennial at tanglewood "Aaron Copland: Fanfare for an Uncommon Man" 5 by Judith Tick Copland and the Movies—A Film Festival at Tanglewood 6 Prelude Concert of Friday, July 21, at 6 p.m 11 Members of the Boston Symphony Orchestra; Jon Nakamatsu, piano MUSIC OF COPLAND AND SCHUMANN

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Boston Symphony Orchestra concert of Saturday, July 22, at 8:30 p.m 27 James Cordon conducting; Barbara Bonney, soprano MUSIC OF WAGNER, SCHOENBERG, AND MOZART

Boston Symphony Orchestra concert of Sunday, July 23, at 2:30 p.m 41 Seiji Ozawa conducting; Peter Serkin, piano MUSIC OF LIEBERSON AND TCHAIKOVSKY

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AARON COPLAND: FANFARE FORAN UNCOMMON MAN

by Judith Tick

Marking the 100th anniversary ofthe birth ofAaron Copland (1900-1990), Tanglewood has programmed a number ofhis orchestral works and is offering a complete survey ofhis chamber music. Copland taught composition at Tanglewood between 1940 and 1965. Following birth-

day celebrations in 1975, 1980, and 1985, this is thefourth tribute to a reveredfigure in the history ofthe Berkshire Music Center (now the Tanglewood Music Center).

Aaron Copland's achievement is so remarkable that we take for granted how he gave

this restless nation a sense of musical place, a soundscape of home. So sovereign is his American presence that his most famous works Fanfarefor the Common Man [JULY 7 BSO CONCERT], "Simple Gifts" from Appalachian Spring [JULY 3 TMC CHAMBER CONCERT], "Hoe-down" from Rodeo—have already entered tradition, anonymously backgrounding commercials and sporting events. It is the kind of music everyone re-

cognizes but no one knows, if by knowing we mean taking its full measure. Copland's childhood recapitulates aspects of a first-generation success story of Jewish assimilation. The youngest of five, whose parents arrived here via Russia and England (where "Kaplan" became "Copland"), Aaron lived above the family department store in Brooklyn, manning the cash register after school. He started piano lessons when he was thirteen. While his formal education stopped with high school, Copland studied composition from 1917-1921 with Rubin Goldmark. Steeped in German music, Goldmark imparted solid training in classical forms, which in the manner of the pre-

cocious young artist, Copland both assimilated and rejected. Copland's apprenticeship years yielded some twenty works for small chamber ensembles, solo piano, and voice. In 1919 he made several arrange- ments of Chopin's piano music for cello and piano, including an Etude and two Preludes. A few original compositions forecast later directions. Both

Copland at Tanglewood in 1947 the Debussy-influenced Poeme for cello and piano (1918), and the lyrical Prelude for violin and piano (1919), which Copland described as influenced by Cesar Franck, reflect Francophile tendencies. In Lament for cello and piano (1919), the thematic borrowing of a Hebrew hymn shows his affinity for quoting vernacular music. [ALL OF THESE WORKS CAN BE heard in the July 7 Prelude Concert.] Copland came of age in Paris (1921-1924). There he found "Mademoiselle," as he called his charismatic composition teacher, Nadia Boulanger. Archaic harmonies in Four Motets for chorus (1921) reflect her eclectic taste [AUGUST 25 PRELUDE]. Receptive to the neoclassicism of Boulanger's own teacher, Gabriel Faure, Copland arranged one of Faure's piano preludes for string quartet and paid further homage to him in another

quartet movement, Rondino (1923) [JULY21 PRELUDE]. Above all, Copland shared Boulanger's passion for the music of Igor Stravinsky, apostle of Franco-Russian mod-

ernism. He emulated Stravinsky's rhythmic and orchestral daring in his first orchestral work, the ballet Grohg (1922-1925). Only recently rediscovered, Grohg [JULY2TMC ORCHESTRA CONCERT] shares its exotic harmonies with another latecomer to the Copland repertory, Movement for String Quartet (1923) [July 21 PRELUDE]. Boulanger wanted Copland to be comfortable in his own skin, as the French say, and that meant acknowledging his American musical citizenship. Fascinated by Copland's "jazz-derived rhythms," she believed they expressed an innate American sensibility. Thus in France, a country which treats culture as power and patrimony—where, as he observed, "art and life touch"—Copland began his lifelong quest for an American musical vernacular to integrate into modernist music. While Copland came home to New York in June 1924 as a virtual unknown, he was labeled "internationally famous" within a few short years because of the acclaim surrounding such jazz-infused works as Musicfor the Theater and the Piano Concerto. They were

COPLAND AND THE MOVIES A Film Festival at Tanglewood

Sunday, July 23-Wednesday, July 26, at 9 p.m. in Seiji Ozawa Hall Free Admission

On four successive nights this summer, as

part of its Copland Centennial Celebration,

Tanglewood is pleased to present six of the eight films for which Aaron Copland wrote

the music, all at 9 p.m. in Seiji Ozawa Hall. r J Lopland during production of 1 he Heiress

Sunday, July 23—"THE HEIRESS" (1949; 115 minutes) William Wyler directed this version of Henry James's classic novella, Washington Square, about New York society in the gay '90s. Olivia de Havilland won an Oscar for her por-

trayal of the shy heiress Catherine Sloper. The young Montgomery Clift is her fortune- hunting suitor, Morris Townsend. Copland won an Oscar for his score.

Monday, July 24 —"THE CUMMINGTON STORY" (1945; 15 minutes) and "OUR TOWN" (1940; 90 minutes) "The Cummington Story" was produced by the Office of War Information for distribu-

tion abroad; according to Howard Pollack's recent Copland biography, it "traces the temporary settlement of a group of Eastern European refugees in a quintessentially American

town." Directed by Sam Wood, "Our Town" is a charming screen version of Thornton

Wilder's lyrical treatment of life ca. 1900 in the New England town of Grover's Corners.

Tuesday, July 25—"THE CITY" (1939; 45 minutes) and "THE RED PONY" (1948; 88 minutes, Technicolor) Produced by the American Institute of Planners, "The City" was first shown at the 1939

New York World's Fair and is now regarded as a landmark documentary film and an important "text" in the evolution of urban planning. The music represents Copland's first film score. "The Red Pony," based on John Steinbeck's 1945 novella of life on a California

ranch ca. 1910, was Copland's third collaboration with director Lewis Milestone and

their second film adaptation of Steinbeck. Robert Mitchum is memorable as ranch hand Billy Buck.

Wednesday, July 26—"OF MICE AND MEN" (1939; 107 minutes)

The first of Copland's three collaborations with Russian-born director Lewis Milestone, this screen version of John Steinbeck's 1937 novella features Burgess Meredith as George

and Lon Chaney, Jr., as Lennie. Copland received two Oscar nominations (Best Score and Best Original Score) for his score—his first score to a feature film. —

commissioned by Serge Koussevitzky, who, as conductor of the BSO from 1924-1949, championed Copland's works as part of an "American Renaissance" in classical music. Copland's friend, composer Elliott Carter (in residence at Tanglewood this summer) remembers how Copland and Koussevitzky treated musical identity: "Part of being Aaron Copland was being an American composer. This was very much encouraged by Koussevitzky, who believed there should be an American world just as there had been a Russian world." Who would lead this American Renaissance? Copland encountered unexpected competition from George Gershwin and the success of Rhapsody in Blue. In Two Pieces for Violin and Piano—"Nocturne" and "Ukelele Serenade" (1926) [AUGUST 11 AND JULY28

PRELUDE CONCERTS, RESPECTIVELY, the former in its 1976 arrangement for clarinet and piano], Copland responded with blues-inflected melodies and "cubistic" (Copland's term) syncopations. In the 1930s he refined this approach in the Short Symphony (1932- 33), later adapted as Sextet for Clarinet, Piano, and String Quartet (1937) [July 2 BOS- TON Symphony Chamber Players Concert]. Despite his fame Copland could only piece together a spartan livelihood from commissions, fellowships, patronage, and part-time teaching. A leader among his peers, he wrote articles promoting their music. Lento Mo/to (the second of Two Pieces for String Quartet, 1928) builds on hymn-tune idioms pioneered by Roy Harris and Virgil Thom- son [JULY 21 PRELUDE]. Copland assumed an expressionistic posture in Vitebsk, Study on a Jewish Theme (1928), a trio for piano, violin, and cello inspired by the Yiddish play, The Dybbuk, which he saw (in English) in 1926 [JULY 7 PRELUDE]. He explored introspective idioms further in the Piano Variations and Elegies for Violin and Viola (1932- 33) [August 4 Prelude]. With a theme borrowed from a Yiddish folksong, Vitebsk also foreshadows Copland's increasing in- volvement with folk music. His subsequent use of Mexican folk song in El Salon Mexico and Cuban popular dance rhythms in the two-piano piece Danzdn Cubano (1942) [August 14TMC Concert] reaffirms this direction. Yet these works hardly prepare us for Copland's great trilogy of ballets, Billy the Kid, Rodeo, and his masterpiece, Appalach- ian Spring (1943-44). They translate into sound the metaphorical domain of land- Copland withfellow composers Lukas Foss and Elliott Carter, mid-1960s scape as a symbol of national character where vastness and open air capture our mythic innocence and the solitude we associate with freedom. Copland accomplished this by treating American folk music as existential material—quoting tunes to be sure, but also deriving luminous harmonies from its common chords. In the late 1930s and '40s, when the Great Depression and World War II made citizenship matter more than ethnicity, the "folk" symbolized democracy and au- thenticity. Responding as well to an "urban folk revival" (the discovery of American folk music by a national audience), Copland described his esthetic in the comfort-language of quilts: "homespun," "plainness," and "usefulness." It influenced several compositions from this period, among them a work for chamber orchestra, Quiet City (1940) [JULY 7 BSO Concert] and the Sonata for Violin and Piano (1942-43) [July 5 CHAMBER Concert].

Copland was at the top of his form in the early 1940s. Financially secure at last from the success of his film scores (among them Our Town and The Red Pony [AUGUST 5

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POPS CONCERT]) and regarded as America's unofficial "composer laureate," Copland traveled for the State Department and fulfilled commissions for patriotic works. The Lincoln Portrait and Fanfarefor the Common Man (1942) come from the War Years, as does the Third Symphony (1944-46) [AUGUST 20TMC ORCHESTRA CONCERT]. At

once grave and optimistic, introspective and civic, it expressed home-front culture, ap-

propriately reprising the Fanfare for its finale. Copland struck a similar elegiac tone in the choral work In the Beginning (1947) commissioned by Harvard University [AUGUST 25 Prelude]. Life loosened at the seams for Copland in the late 1940s. The post-war revival of Arnold Schoenberg's twelve-tone method disquieted him, and cold-war poli-

tics brought trouble. Public hostility incurred by his par- ticipation in the Cultural and Scientific Conference for World Peace (1949), which was seen as a Communist propaganda event, foreshadowed persecutions in the mid-1950s from Senator McCarthy and the House Committee on Un-American Activities. Shortly after this conference an intrepid Copland adopted twelve- tone approaches in the Quartet for Piano and Strings (1949-50) [July 7 Prelude], as he would later in the orchestral work Inscape (1967) [AUGUST 14 TMC

Orchestra Concert]. It is hard today to recapture With Leonard Bernstein and Seiji the meaning of this shift. Was he expressing solidarity Ozawa, 1988 with composers behind the "Iron Curtain" where atonal music was outlawed? Was he jumping on the bandwagon of youth or acting from deeply felt musical imperatives? Once Copland noted how the instability of twelve-tone music suited the anxiety of the times; he also said he wanted to "freshen up his harmonies." Some of his cold-war modern work combines dissonant chords with older Baroque forms, as in the orchestral piece, Connotations (1962). In the chamber concerto for solo

strings, Nonet (1960) [AUGUST 18 PRELUDE], the tonal language is "refreshed" but once again largely consonant. Copland struggled to maintain productivity in his advancing years, completing very few pieces after 1970. For the Duo for Flute and Piano (1971) he resurrected musical

^sketches from the 1940s [JULY28 Prelude ]. Yet the elliptical counterpoint in two late

works, Threnodies for flute and string trio (1972, 1973), shows a still active musical imagination [ALSO JULY 28] Copland consistently sought to clarify his individuality in music. Elliott Carter speaks about this: "Aaron was really the arbiter of taste of contemporary music by saying that a composer must have some personal character. Aaron gradually sharpened his point of

view about his personality, and developed it considerably. He wrote Aaron Copland's

music as soon as he found out what it was." Copland continued to "find out" throughout his long career, entrusting the fate of both his public and private music to the same process of inner exploration. How fortunate we are that Copland's peculiar genius enabled him to use himself as a medium of one through which the many could collec- " tively experience an "American sound.

A Matthews Distinguished University Professor at Northeastern University in Boston, Judith Tick is the author of Ruth Crawford Seeger-A Composers Searchfor American Music and, with Gail Levin, co-author of the forthcoming Aaron Copland's America-A Cultural Perspective, being published in conjunction woth the exhibition of that title at the Heckscher

Museum of Art in Huntington, New York (November 4, 2000-January 1, 2001). June 11 - September 4 Noble Dreams, Wicked Pleasures: Orientalism in America, 1870-1930 Williamstown, MA 413 458 9545 .Discover theCLARK g.francineCLARK art institute

10 2000 Tanglewood

SEIJI OZAWA HALL Prelude Concert

Friday, July 21, at 6 Florence Gould Auditorium, Seiji Ozawa Hall

TATIANA DIMITRIADES, violin (1st violin in Copland) CATHERINE FRENCH, violin (Schumann; 2nd violin in Copland) EDWARD GAZOULEAS, viola JOEL MOERSCHEL, cello JON NAKAMATSU, piano

COPLAND Two Pieces for string quartet Lento Molto (1928) Rondino (1923)

COPLAND Movement for string quartet (1921-24)

Celebrating the Centennial ofAaron Copland's Birth

SCHUMANN Quartet in E-flat for piano, violin, viola, and cello, Opus 47

Sostenuto assai—Allegro ma non troppo

Scherzo: Molto vivace; Trio I; Trio II Andante cantabile Finale: Vivace

Baldwin piano

Jon Nakamatsu plays the Steinway piano.

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should he switched off during the concert.

Please refrain from taking pictures in Seiji Ozawa Hall at any time during the concert. Thank you for your cooperation.

Notes

To place the Copland works on this program in the context of Aaron Copland's career, see Judith Tick's essay, "Aaron Copland: Fanfare for an Uncommon Man," beginning on page 5 of this program book. As Vivian Perlis observes about the Two Pieces for string quartet in her Annotations: a guide to the music ofAaron Copland, 1998 edition (Boosey 6c Hawkes, Inc.), "Lento molto

11 Week 3 was composed in New York in 1928. Later, Copland paired it with the Rondino (1923),

composed earlier in Paris as the second part of an 'Hommage a Faure! Rondino is based on the letters of Faure's name. The coupling of the two short pieces was so satisfactory that in 1948 they were published together as Two Pieces." At Serge Koussevitzky's request, Copland made an arrangement for string orchestra of the Two Pieces soon after their first performance in 1928. The orchestral version received its first performances on December 14 and 15, 1928, with Koussevitzky conducting the Boston Symphony Orchestra, on which occasion Copland himself provided the following note in the Boston Symphony program book:

These 'Two Pieces' were originally composed for string quartet. In that form they

were first performed by the Lenox String Quartet on May 6, 1928, at the second of the Copland-Sessions Concerts of Contemporary Modern Music in New York. They were transcribed for string orchestra during the past summer (1928) at the

MacDowell Colony (Peterboro, N.H.), and this is the first performance of the new version.

A five-year interval separated the composition of these 'Two Pieces.' The first (Lento Molto) was completed in New York in April, 1928, while the second (Ron-

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12 dino) was written at Paris in 1923. The form of both pieces is too simple to require analysis. The notes of the principal theme of the Rondino were designed to spell the name of Gabriel-Faure: G (sol), A (la), B (si), R (re), I (si), E (mi), L (sol), F (fa), A (la), U (sol), R (re), E (mi). The 'Two Pieces' are dedicated to the Californian composer, Roy Harris.

Regarding Copland's Movement for string quartet, Vivian Perlis has written the following in her Annotations: a guide to the music ofAaron Copland, 1998 edition (Boosey & Hawkes, Inc.):

While working at the Library of Congress on Copland's autobiography, Vivian Perlis came upon parts for a movement of a string quartet among the composer's

papers. Little is known about the circumstances of its composition. It was probably written as an assignment for Nadia Boulanger just before Copland returned to the

U.S. from Paris in 1924. The movement is in three parts: a haunting slow section, followed by a short lively segment and a lilting finale. The Alexander String Quartet

played the movement for Copland at his home in 1983, almost sixty years after its

composition. He approved it for publication and for the premiere by the Alexander Quartet.

The piano quartet of Robert Schumann (1810-1856) was the product of his "chamber music year" of 1842, which followed the "song year" 1840 and the "symphony year" 1841. During the course of 1842, Schumann produced his set of three Opus 41 string quartets, the Opus 44 piano quintet, and the present piano quartet. The quintet has always been the most popular of this group of pieces, and it is surely one of Schumann's most splendid creations, but the quartet, a smaller lyrical pendant in the same key, is full

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13 of felicitous Schumannesque touches. The slow introduction to the first movement prefigures the main motive of the Allegro that follows. At the end of the exposition, Schumann brings back the slow

introduction, as if he is going to repeat it along with the entire exposition, but at the

next-to-last note it suddenly veers off into the development, which builds steadily to a furious fortissimo return to the tonic and the opening of the recapitulation.

The scherzo is a headlong rush of eighth-notes twice interrupted for more lyrical Trios; the second of these features one of Schumann's favorite rhythmic tricks—a pas- sage so syncopated that upbeats sound like downbeats. The richly lyrical slow movement features a long-breathed melody offered to each of the strings in turn while the piano decorates and supports. As the viola takes up the song, following a dark middle section, the cellist must tune his bottom C-string down to B-flat to produce a wonderfully deep pedal point in two octaves against the closing phrases of the rest of the ensemble. The energetic finale begins with a fugato based on a familiar-sounding theme; was Schumann thinking of Mozart 's Jupiter Symphony? Schumann's interest in contrapuntal work is clearly evident in both of the E-flat chamber works with piano composed at this time, and actual fugues or fugatos are a central part of the finale in each case. —Notes by Marc Mandel (Copland) and Steven Ledbetter (Schumann)

ARTISTS

Violinist Catherine French is a native of Victoria, British Columbia, where she began Suzuki studies on the violin at age four. Ms. French has performed frequently as a recitalist in the United States and Canada; she made her Carnegie Hall debut in 1992 with the Senior Concert Orchestra of New York under the baton of David Gilbert. Local chamber music appearances have included concerts with the Boston Artists Ensemble and Prelude Concerts at Symphony Hall. The recipient of numerous study grants from the Canada Council, Al- berta Culture, the Alberta Foundation for the Performing Arts, the Manitoba Arts Council, and the Chalmers Fund, she won the grand prize at the National Competitive Festival of Music in 1986, was the overall winner of the Canadian Music Competition in 1988, and won first prize in the CBC Young Artists Competition in 1989. In 1990 she won the concerto competition at Indiana University, where she was a pupil of Miriam Fried. Following her graduation from Indiana University she earned a professional studies diploma at Mannes College of Music as a student of Felix Galimir. In May 1994 she received her master of music degree from the Juilliard School following studies with Joel Smirnoff. Ms. French joined the Boston Symphony Orchestra's violin section in September 1994.

Born and raised in New York, Tatiana Dimitriades attended the Pre-College Division of the Juilliard School. She earned her bachelor's and master's degrees in music, as well as an Artist Diploma, from the Indiana University School of Music, where she was awarded the Performer's Certificate in recognition of outstanding musical performance. Ms. Dimitriades joined the Boston Symphony at the start of the 1987-88 season. A recipient of the Lili Bou- langer Memorial Award, she has also won the Guido Chigi Saracini Prize presented by the Accademia Musicale Chigiana of Siena, Italy, on the occasion of the Paganini Centenary, and the Mischa Pelz Prize of the National Young Musicians Foundation Debut Competition in Los Angeles. Ms. Dimitriades teaches at the Boston Conservatory of Music. An active

chamber musician, she is a member of the Boston Artists Ensemble, the Boston Conserva- tory Chamber Ensemble, and the Walden Chamber Players. She was concertmaster of the Newton Symphony Orchestra, with which she appeared often as a concerto soloist, and is currently concertmaster of the New Philharmonia Orchestra. She also continues to perform frequently in recital and chamber music throughout New England.

14 A member of the Boston Symphony Orchestra since the start of the 1990-91 season, violist Edward Gazouleas is also an active chamber music player. He appears regularly with the Boston Conservatory Chamber Players, the new music group Collage, and in solo recitals. A 1983 prizewinner at the International String Quartet Competition in Evian, France, Mr. Gazouleas has performed with members of the Muir, Audubon, and Lydian string quartets. He was a member of the Pittsburgh Symphony and has held faculty positions at Temple University, Wellesley College, and the Boston Conservatory. Mr. Gazouleas is a 1984 graduate of the Curtis Institute of Music, where he studied with Michael Tree and Karen Tuttle.

Born in Oak Park, Illinois, Joel Moerschel received his early musical training from Chicago Symphony cellist Nicolai Zedeler and from Karl Fruh, professor of music at the Chicago Musical College. He received his bachelor of music degree with distinction, and a performer's certificate, from the Eastman School of Music, where he studied with Ronald Leonard; he joined the Boston Symphony Orchestra in 1970, following graduation. Besides his BSO commitments, Mr. Moerschel has performed as soloist, chamber musician, and contemporary music cellist with the Wheaton Trio, the Francesco and Amici string quartets, Boston Musica Viva, and Collage New Music. He has taught at Wellesley College and at the Boston Uni- versity Tanglewood Institute.

California native Jon Nakamatsu, a former high school German teacher, claimed his place on the international music scene in June 1997 when he was named Gold Medalist of the Tenth Van Cliburn International Piano Competition, the first American to have achieved this distinction since 1981. His current season includes orchestral engagements, recitals, and chamber music collaborations throughout the United States and Europe. In the spring of 2000 he performed and made the world premiere recording of Lukas Foss's First Piano Concerto with Carl St. Clair and the Pacific Symphony Orchestra. His 1998-99 season was highlighted by a White House performance of Rhapsody in Blue hosted by President and Mrs. Clinton. In addition to his performance schedule, Mr. Nakamatsu appears in speaking engagements, master classes, and media broadcasts. He has worked with various chamber ensembles and received the Steven DeGroote Memorial Award for his chamber performances in the semi-finals at the Cliburn Competition. Named 1998 Debut Artist of the Year by NPR's "Performance To- day," he has been profiled by "CBS Sunday Morning" and Readers Digest and is featured in "Playing with Fire," a PBS documentary about the Tenth Van Cliburn International Piano Competition. A graduate of Stanford University with a bachelor's degree in German studies and a master's degree in education, Mr. Nakamatsu has also pursued studies in composition, orchestration, chamber music, and musicology.

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15 COACH FACTORY

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16 2000 ^BOSTON\ Tanglewood SYMPHONY| ORCHESTRA/ V.SEIJI OZAWA>£ Music JflVy BOSTON SYMPHONY ORCHESTRA \ mL UCfc^- Director '^JiUSlS' Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship, fullyfunded in perpetuity Bernard Haitink, Principal Guest Conductor

Fridayjuly21,at8:30

JEFFREY TATE conducting

WAGNER Siegfried Idyll

SCHUMANN Piano Concerto in A minor, Opus 54 Allegro affettuoso Intermezzo: Andantino grazioso Allegro vivace HELENE GRIMAUD

INTERMISSION

HAYDN Symphony No. 99 in E-flat Allegro—Vivace assai Adagio Menuetto: Allegretto; Trio Finale: Vivace

RCA, Deutsche Grammophon, Philips, Telarc, Sony Classical/CBS Masterworks, Angel/EMI, London/Decca, Erato, Hyperion, and New World records Baldwin piano

Helene Grimaud plays the Steinway piano.

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert.

Please do not take pictures during the concert. Flashbulbs, in particular, are distracting to the musicians and other audience members.

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18 NOTES ON THE PROGRAM

RICHARD WAGNER (1813-1883) Siegfried Idyll First performance: Christmas morning, December 25, 1870, Tribschen, the Wagner home near Lake Lucerne First BSO performances: February 1883, Georg Henschel cond. First Tanglewoodperformance: August 15, 1953, Charles Munch cond. Most recent Tanglewoodperformance: July 29, 1988, Gunther Herbig cond.

ROBERT SCHUMANN (1810-1856) Piano Concerto in A minor, Opus 54

First performance: December 4, 1845, Dresden, Ferdinand Hiller cond., Clara Schumann, piano First BSO performances: October 1882, Georg Henschel cond., Carl Baermann, piano First Tanglewoodperformance: July 28, 1956, Charles Munch cond., Rudolf Serkin, piano Most recent Tanglewoodperformance: August 21, 1999, Philadelphia Orchestra, Wolfgang Sawallisch cond., LeifOve Andsnes, piano Most recent Tanglewoodperformance by the BSO: July 15, 1978, Neville Marriner cond., Alicia de Larrocha, piano

FRANZ JOSEPH HAYDN (1732-1809) Symphony No. 99 in E-flat

First performance: February 10, 1 794, London, Haydn cond. First BSO performances: January 1886, Wilhelm Gericke cond.

First Tanglewoodperformance: August 6, 1938, Serge Koussevitzky cond.

Most recent Tanglewoodperformance: July 4, 1975, Leonard Bernstein cond.

Cosima Liszt Wagner and Clara Wieck Schumann—two formidable women, each married to an extraordinary musician. Both endured long widowhoods and became fierce guardians of their husbands' work and causes. They came to be wildly different—Clara, the embodiment of bourgeois rectitude, a musician of considerable, conservatively tuned intelligence, and a pianist who was both sensitive and brilliant; Cosima, who bore her second husband, RICHARD WAGNER, three children while still married to her first, Hans von Biilow, and whose calling was that of manager, first of Wagner's life and later, for many decades, of the Wagner festival at Bayreuth. (We tend to forget sometimes what a headstrong and passionate girl Clara Wieck was, one for whom elopement with her moody suitor would by no means have been totally out of the question.) There is no mention of Clara Schumann in Cosima Wagner's voluminous diary, but we do know that Clara loathed everything to do with Wagner. To the amusement of her most devoted and loving friend Johannes Brahms, she came close once to canceling a concerto engagement when she found out that the Magic Fire Music from Die Walkilre was on the same program. Were she the scheduled soloist for the Schumann piano concerto tonight—and that piece was one of Robert's many musical love offerings to her—she might well have canceled upon learning that the concerto was to be preceded by a work that was a love offering not only from a composer she detested but one celebrating what she could only see as a deeply immoral relationship. But here

19 Week 3 they are in spirit tonight, the two ladies, and each, invisibly, will be taking a bow when the music that they brought into being comes to an end.

Actually by the time the Siegfried Idyll was completed on December 4, 1870, Richard Wagner and Cosima von Biilow had been married more than three months and they were living at Tribschen, a lakeside house just outside Lucerne that Wagner had rented in April 1866 and where Cosima had in effect moved in a month later. The Siegfried Idyll was a surprise present for Cosima's thirty-third birthday on December 24, 1870, and her first as Frau Doktor Wagner. (Birthdays in the Wagner household were always major productions, with much music, tableaux vivants, and the like.) The sound of tun- ing was Cosima's awakening that morning, and it heralded the playing of this perfect and tender piece on the wide staircase of the big, boxy house. Siegfried was in the works just then, Wagner having taken it up in the spring after a twelve-year interruption, during which he had composed Tristan and Meistersinger (both conducted by Cosima's cuckolded husband), and the Idyll gets its name because it shares some material with the opera. Nearly all the huge amount of solo piano music that ROBERT SCHUMANN wrote was made with Clara in mind. In May 1841 he composed a one-movement Con- cert Fantasy, and Clara, eight-and-a-half months pregnant,

played it that August at a closed rehearsal of the Leipzig Gewandhaus Orchestra with Mendelssohn conducting. Four

years later, this Fantasy, somewhat revised, became the first movement of a full-dress three-movement concerto, which Clara introduced in Dresden in December 1845. The Fantasy

in its original form was not heard again until the summer of 1967 when, not many yards from where you are sitting now,

Malcolm Frager played it at a reading rehearsal with the Berk- shire Music Center Orchestra, Erich Leinsdorf conducting. In her young years, Clara played some very flashy repertory, and some of her fans, having heard her splash about in concertos byThalberg, Pixis, and Herz, will have found Schumann's concerto tame stuff in the matter of the bravura factor. Whether they liked the piece or not—and most did—people were certainly aware that this was different. It was not about piano-playing for the sake of piano-playing but about playing the piano for the sake of speaking poetry. Clara noted in her diary the delicacy of the way the piano and orchestra are interwoven, and among the pianist's

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20 tasks is sometimes to be an accompanist—the lyric clarinet solo in the first movement is the most prominent example—and to be a good accompanist means to be a superlative musician, intuitive, alert, ever listening. The pianist gets a grand, wonderfully sonorous cadenza at the end of the first movement, but above all the Schumann concerto is a work of conversation both intimate and playful—whether in the almost whimsically varied first movement, the confidences exchanged in the brief middle movement, or in the splendidly energized finale.

There is no love story to be found behind the Symphony No. 99 of FRANZJOSEPH HAYDN, at least not a romantic or sexual one, but I think we do not go too far if we think of this amazing, exuberant, joyous, and sometimes poetic work as the product of another kind of love. From time to time the stars are so aligned that there is perfect harmony between an artist and a community. It is always rare and always wonderful. The mutual love affair between Mozart and the musical public in Prague is a famous instance, but the ultimately stellar one is the relationship that developed in the 1790s between Haydn and the intel- ligent, inquisitive, and intensely musical audiences he found in London. After nearly thirty years of service at an obscure, geo- graphically isolated, but prosperous and artistically enlightened court, Haydn ventured to England for a stay of a year and a half, composing much music—including six symphonies—for endlessly enthusiastic audiences and receiving an honorary doctorate from Oxford. In July 1792 he returned to Vienna, where he gave some lessons to the twenty-one-year- old Beethoven, not really a happy encounter for either man, though Beethoven never ceased to learn from Haydn's scores themselves. Mozart was dead, so was his beloved

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21 wsm 22 friend Frau von Genzinger, his marriage and his fourteen-year-old affair with the soprano Luigia Polzelfi were as wretched and draining as ever, and Haydn was happy to accept an invitation to return to London.

The Symphony No. 99 is the work he composed to launch his new series of concerts there. It is a lavish work, richly scored, his first symphony to include clarinets. The clarinet is the quintessentially Mozartian instrument, and Haydn's use of it here is one of many signs of his indebtedness to his young friend in his late works. It is a most touch- ing relationship, one that begins with the young Mozart learning from the older and re- vered Haydn, and culminating in Haydn's becoming a posthumous pupil of Mozart's. Majesty, radiance, lyricism, humor—we will find them all in this great, this very great work. And what a pleasure to find it as the culmination of a concert rather than as an hors d'oeuvre! —Michael Steinberg

Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 to 1979 and then program annotator for the San Francisco Symphony and, later, the New York Philharmonic. Oxford University Press has published two compilations of his program notes {The Symphony—A Listeners Guide and The Concerto—A Listeners Guide), including many written originally for the BSO.

GUEST ARTISTS

Jeffrey Tate Jeffrey Tate has been principal conductor of the English Chamber Or- chestra since 1985 and in November 1996 was named principal conductor of "Viennese Sommerfest," the summer festival of the Minnesota Orches- tra. He was music director of the Rotterdam Philharmonic from 1990 to 1993 and principal conductor of the Royal Opera, Covent Garden, from 1986 to 1993. From 1991 to 1998 he was principal guest conductor of the

Orchestre National de France. In 1998-99 Mr. Tate conducted the first complete production of Wagner's Ring cycle in Australia, recreating the

Pierre Strosser production he led in 1994 at the Theatre Musicale de Paris/Chatelet (the first complete Ring in Paris since the end of World War II). He recently led a new production of Berg's Wozzeck at the Paris Opera and returned to the Rome Opera for Britten's A Midsum- mer Nights Dream and Mahagonny. His close collaboration with that company continues in

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23 2000-1)1 with Lohengrin. Since coming to prominence alter his 1978 debut with Carmen at the Gdteborg Opera, Jeffre) rate now regularly conducts the world's leading opera compa-

nies he is particularly esteemed tor his interpretations of Mozart, Strauss, and Wagner, as well as the French repertoire. In the spring of 1995 he returned to the Chatelet in Paris for a new production of Britten's Peter Grimes. In June 1995 he led Gluck's Orfeo ed Euridice at Geneva Opera, the final production during the tenure of Intendant Hugues Gall, who invited him to conduct Cosi fan tutte for the reopening of Paris's Palais Gamier when Mr. Gall was named the new Intendant of that theater. Mr. Tate made his North American debut in 1979, replac- ing lames I.evine on three hours' notice for a performance of Berg's Lulu at the Metropolitan Opera, where he lias since conducted numerous other productions. In San Francisco he has conducted Strauss's Elektra and Mozart's The Marriage ofFigaro. A prolific recording artist, he has led the English Chamber Orchestra in recordings of the complete Mozart symphonies and the complete Mozart piano concertos with soloist Mitsuko Uchida. Other recordings include Mendelssohn's Midsummer Night's Dream music and Bruckner's Ninth Symphony with the Rotterdam Philharmonic, Grieg's Peer Gynt with the Berlin Philharmonic, and the Ninth symphonies of Schubert and Beethoven with the Dresden Staatskapelle. His extensive opera catalog includes Strauss's Arabella, Humperdinck's Hansel und Gretel, Offenbach's Tales ofHoffmann, and Berg's Lulu. Born in Salisbury, England, Jeffrey Tate studied medicine at the University of Cambridge, qualifying as a doctor at London's St. Thomas's Hospital. His great interest, however, was music, and he joined the Covent Garden staff in 1970 as a re- petiteur, remaining through 1977 and working with such conductors as Colin Davis, Carlos Kleiber, John Pritchard, and Sir Georg Solti. He was made a Knight Commander of the British Empire in England and in France was named a Chevalier des Arts et des Lettres. Mr. Tate made his Boston Symphony debut in April 1986 and appeared most recently with the BSO last summer at Tanglewood.

Helene Grimaud Making her Tanglewood debut this evening, the French pianist Helene

Grimaud is a regular visitor to the concert stages of Europe, North America, and the Far East. Since her 1988 debut with the Orchestre de Paris at the invitation of Daniel Barenboim, she has appeared with the Berlin Philharmonic, the Boston Symphony Orchestra, the Chamber Orchestra of Europe, the Cleveland Orchestra, the Deutsches Sinfonie- Orchester Berlin, the Gewandhaus Orchestra of Leipzig, the Israel Philharmonic, the London Symphony, the Los Angeles Philharmonic, the Montreal Symphony, the Mostly Mozart Festival Orchestra, the St. Petersburg Philhar-

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24 monic, the San Francisco Symphony, Tokyo's NHK Symphony, and Zurich's Tonhalle Or- chestra, among other ensembles. Conductors with whom she has worked include Claudio Abbado, Herbert Blomstedt, Myung-Whun Chung, James Conlon, Andrew Davis, Charles Dutoit, Christopher Hogwood, Neeme Jarvi, Marek Janowski, Jesus Lopez-Cobos, Kurt San- derling, Wolfgang Sawallisch, Yuri Temirkanov, and David Zinman. Ms. Grimaud's schedule for 1998-99 included her debut with the New York Philharmonic under Kurt Masur as well as appearances with the Orchestre de Paris, the Montreal Symphony, the Seattle Symphony, and the Toronto Symphony. Her 1999 summer season included appearances at Aspen, Cara- moor, the Hollywood Bowl with Esa-Pekka Salonen and the Los Angeles Philharmonic, the Minnesota Orchestra's Sommerfest, and the Cincinnati Symphony's Riverbend Festival, as well as concerts with the San Francisco Symphony. Highlights of her 1999-2000 calendar included engagements with the Philadelphia Orchestra and the Atlanta Symphony, recitals in San Francisco, Santa Fe, and Vancouver, a tour of Germany and Austria with Neeme Jarvi and the Goteborg Symphony, and concerts with the City of Birmingham Symphony, Rome's Santa Cecilia Orchestra, the Israel Philharmonic, and, with conductor Kurt Sanderling, both the Bamberg Symphony and the Royal Danish Orchestra. Ms. Grimaud records for the Erato and Teldec labels. Her releases on Erato include the Schumann Piano Concerto and Richard Strauss's Burleske for piano and orchestra with the Deutsches Sinfonie-Orchester Berlin led by David Zinman, a highly acclaimed disc featuring late piano works of Brahms, the Gersh- win and Ravel piano concertos with Mr. Zinman and the Baltimore Symphony, and the

Brahms Piano Concerto No. 1 with Kurt Sanderling and the Staatskapelle Berlin. Her first

Teldec disc is a live recording of the Beethoven Piano Concerto No. 4 from her debut appearances with the New York Philharmonic under Kurt Masur, plus two Beethoven sonatas. Ms. I Grimaud's discography also includes several award-winning releases on Denon, featuring works of Rachmaninoff, Chopin, Liszt, Schumann, Ravel, and Brahms. Born in Aix-en- Provence, Helene Grimaud began music studies at the Conservatoire there and studied later in Marseilles with Pierre Barbizet. At thirteen she was accepted into the Conservatoire Na- tional Superieur de Musique in Paris. In 1985 she was awarded first prize in Jacques Rouvier's class and was invited to participate in master classes by Gyorgy Sandor, Leon Fleisher, and Jorge Bolet. Ms. Grimaud made her Boston Symphony debut in March 1997 and appeared with the orchestra most recently this past March in Symphony Hall.

Boston University Tanqlewood Institute Adult Music Seminars 2000

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26 2000 Tanglewood BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship, fullyfunded in perpetuity Bernard Haitink, Principal Guest Conductor

Saturday, July 22, at 8:30

JAMES CONLON conducting

WAGNER Overture to The Flying Dutchman

SCHOENBERG Verkldrte Nacht, Opus 4

INTERMISSION

MOZART Exsultate, jubilate, Motet for soprano and orchestra, K.165(158a) BARBARA BONNEY

Text and translation are on page 30.

WAGNER Preludes to Acts III and I of Die Meistersinger von Numberg

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In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert.

Please do not take pictures during the concert. Flashbulbs, in particular, are distracting to the musicians and other audience members.

27 Week 3 DAYS IN T H E

An Unparalleled Summer Opportunity for Youth

The Boston Symphony Orchestra gratefully acknowledges the following contributors to Days in the Arts 1999:

William E. & Bertha E. Schrafft Charitable Trust, Sarah G. McCarthy Memorial Foundation,

Irene E. & George A. Davis Foundation, Abraham Perlman Foundation, Cambridge Community Foundation, Boston Globe Foundation, Days in the Arts, a summer program of the Boston the John H. O'Brien, Jr., Memorial Scholarship Symphony Orchestra at Tanglewood in cooperation Fund, and many with 32 school departments throughout Massachu- individuals who setts, offers middle school students from diverse generously support the backgrounds an unparalleled opportunity to discover program. In addition, the world of the arts. the program receives Utilizing the natural and cultural richness of the funding from the Berkshires, students participate in daily arts work- Associated Grantmakers shops, attend performances, visit museums, and of Massachusetts enjoy informal activities such as swimming and Summer Fund. "new games." Participating area cultural institutions

include the Berkshire Theatre Festival, Chesterwood,

Clark Art Institute, Jacob's Pillow Dance Festival,

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Art, and the Norman Rockwell Museum.

Tanglewffid NOTES ON THE PROGRAM

RICHARD WAGNER (1813-1883) Overture to The Flying Dutchman

First performance ofthe opera: January 2, 1843, Dresden, Wagner cond. First BSO performances: May 1886 ("Popular Concert"), Wilhelm Gericke cond. First Tanglewoodperformance: August 12, 1939, Serge Koussevitzky cond. Most recent Tanglewoodperformance: July 10, 1992, Jesus Ldpez-Cobos cond. ARNOLD SCHOENBERG (1874-1951) Verklarte Nacht, Opus 4

First performance: March 18, 1902, Vienna, Rose Quartet with additional violist and cellist (original versionfor string sextet) First BSO performances (string orchestra version): November 1921, Pierre Monteux cond. First Tanglewoodperformance ofstring orchestra version: August 24, 1974, Seiji Ozawa cond. Most recent Tanglewoodperformance ofstring orchestra version: July 13, 1996, Ozawa cond. WOLFGANG AMADE MOZART (1756-1791) Exsultate,jubilate, Motet for soprano and orchestra, K.165(158a)

First performance: January 17, 1773, Church of the Theatines, Milan, Venanzio Rauzzini, castrato soloist First BSO performance: July 12, 1963, Tanglewood, Erich Leinsdorfcond., Jeanette Scovotti, soprano Most recent Tanglewoodperformance: August 26, 1994, Christoph Eschenbach cond., Barbara Bonney, soprano (though the Alleluia alone was performed here more recently on July 23, 1995,

Andre Previn cond., Barbara Bonney, soprano, in the "Three Birthdays" concert honoring Seiji Ozawa, Yo-Yo Ma, and Itzhak Perlman) RICHARD WAGNER Preludes to Acts III and I of Die Meistersinger von Niirnberg

Firstperformance ofthe Act I Prelude: November 1, 1862, Leipzig, Wagner cond. First performance of the opera: June 21, 1868, Munich, Hans von Billow cond. First BSO performances: November 1881, Georg Henschel cond. (Act I Prelude); February 1882, Henschel cond. (Act III Prelude) First Berkshire Festivalperformance: August 16, 1936, Serge Koussevitzky cond. (Act I Prelude) First Tanglewoodperformance: August 12, 1939, Serge Koussevitzky cond. (Act I Prelude); August 15, 1953, Charles Munch cond. (Act III Prelude) Most recent Tanglewoodperformance: August 21, 1994, Bernard Haitink cond. (Act I Prelude); July 22, 1995, Marek Janowski cond. (Act III Prelude)

Inspiration and Craft: Rival Claims in the Music of Mozart, Wagner, and Schoenberg

In October 1772, Leopold Mozart and his sixteen-year-old son WOLFGANG AMADE MOZART embarked on their third journey to Italy. Respectfully greeted wherever he went as the "Cavaliere filarmonico," the younger Mozart hoped to accomplish two goals: first, to obtain a permanent position; and second, to fulfill a commission from the Regio Ducal Teatro in Milan to write an opera for the upcoming Carnaval season. Although the position failed to materialize, the opera—a work of the seria variety entitled Lucio Silla—was duly completed and premiered in December, with the castrato Venanzio Rauzzini in one of the leading roles. It was at the request of this much-acclaimed singer (who also boasted considerable skills as a keyboard player and composer) that

29 Week 3 Mozart wrote the vibrant motet in praise of the Virgin Mary, Exsultate, jubilate , first performed .it Milan's Church of the Theatines on January 17, 1773. Not long before, Leopold had written ott the then-popular church music in the Italian city as "indecent revelry"—a charge that might just as plausibly be leveled against his son's composition. Like much of the sacred music

of the later eighteenth century, the Exsultate possesses little if any of the pious, devotional quality that characterized the

genre in earlier periods. Blatantly operatic in style, Mozart's motet consists of three movements in a fast-slow-fast arrangement, thus comprising a miniature concerto for voice and orchestra. A direct import from the world of opera seria, the

opening movement is a full-blown concert aria, replete with buoyant ritornellos for the orchestra and coloratura passaggi for the soloist. In contrast, the slow movement, a cavatina for voice and strings, evokes the intimate atmosphere of what in Mozart's day was known as the empfindsamer, or "sensitive" style. High spirits return with the subsequent Alleluia, a virtuoso show-stopper that brings the motet to an exhilarating close with an infectious blend of dance-like melody and vocal fireworks.

The Exsultate fits well with one of the more commonly held views about Mozart, the notion, to quote his biographer Maynard Solomon, that he was a kind of "divine child," a "playful embodiment of love and beauty." According to this outlook, Mozart was a passive receptacle, a transparent medium for the communication of ideas directly from God. In short, the myth of the "divine child" portrays Mozart as the quintessence of the inspired, unreflecting genius. Chances are, Mozart did commit his youthful motet to paper in the white heat of inspiration, requiring little conscious effort to formulate his musical ideas. The surviving sketches for some of Mozart's later projects, however, tell a rather different story, suggesting that as he grew older, divine inspiration was cou- pled with a fair amount of concentrated labor.

Exsultate, jubilate, K.165(158a)

Exsultate, jubilate, o vos animae Exult and rejoice, you blessed souls; beatae, dulcia cantica canendo, and let the heavens resound with cantui vestro respondendo, psallant sweet chants, answering with me aethera cum me. your song.

Fulget arnica dies, jam fugere et The fair day shines radiant; clouds nubila et procellae; exortus est and storms are gone. For the

justis inexspectata quies; righteous there is a sudden calm;

undique obscura regnabat nox. till now murky night ruled over all. Surgite tandem laeti, qui timuistis So arise joyous, you who were afraid, adhuc, et jucundi aurorae fortunatae; and be happy in the blessed dawn.

frondes dextera plena et lilia date. With open hands offer garlands and

lilies.

Tu virginum corona, tu nobis pacem Thou crown of virgins, give us peace, dona, tu consolare affectus unde and calm the passions which suspirat cor. trouble our hearts.

Alleluia. Alleluia. —translation by Steven Ledbetter

30 —

The dichotomy between creative intuition and studied reflection was a favorite topic of a composer who on several occasions called himself a "pupil of Mozart": Arnold

Schoenberg. (This claim is not as fanciful as it may at first seem. Invoking the razor- sharp delineations of character in Mozart's dramatic works, Schoenberg detected in Mozart's knack for developing and combining the tiniest of illustrative motives a "vision of the future." The same technique is everywhere present in Schoenberg's music, though the actual sounding result is obviously quite different.) In an essay written in 1946 and entitled "Heart and Brain in Music," Schoenberg maintained that both elements—intuition and reflection—were equally vital aspects of the creative process. Taking issue with the widespread assumption of a necessary relation between "heart" and spontaneous expression on the one hand, and "brain" and intellectual demonstrations of compositional craft on the other, Schoenberg argued that "the finished product gives no indication of whether the emotional or the cerebral constituents have been determinant." At the same time, Schoenberg conceded that without the jump-start provided by inspiration, artistic production was simply not possible—and it was this side of the equation that nineteenth-century artists tended to stress when they attempted to explain the act of creation. RICHARD WAGNER provides an excellent case in point. Writing in 1851, he claimed that the whole of his romantic opera The Flying Dutchman took shape in his mind's eye as he drafted the central monologue for its heroine, Senta: "I remember that, before composing The Flying Dutchman, I first sketched Senta's ballad in the second act... in this piece I unwittingly planted the thematic seed of all the music in the opera: it was the poetically condensed image of the whole drama." Wagner's account is not entirely accurate, for as important as Senta's ballad is for the unfolding of the drama, it hardly contains the

"thematic seed" for all of the opera's music. One spot where it surely did influence the course of musical events was the overture, composed after the body of the opera was complete in November 1841. This powerful orchestral tone portrait opens with the ominous horn call associated with the Dutch- man himself, condemned to roam the seas eternally unless he can find a woman who will be faithful to him "until death." Soon the fanfares give way to rushing chromatic scales and unstable harmonies—the stock-in-trade of operatic depictions of the raging elements. After the tempest subsides, a solo English horn spins out the lyrical, prayerful theme that Wagner links, in Senta's ballad and elsewhere in the opera, with the deliver- ance of the Dutchman from his aimless quest. After completing The Flying Dutchman, Wagner went on to compose two more romantic operas Tannhduser (1845) and Lohengrin (1848)—and then, after a period devoted to spelling out his theories of the "artwork of the future," he began to draft his celebrated tetralogy on the Nibelung saga. Having arrived just past the halfway mark of that massive undertaking, he suspended his work on the project, first for Tristan und Isolde (1859), his luminous hymn to love and death, and then for Die Meistersinger von Nurnberg, the closest he ever came to a genuine music-dramatic comedy. True to form, in describing the conception of Meistersinger, Wagner once again took pains to empha-

size the inspirational moment. The year is 1845, and to while away the hours as he takes the cure at Marienbad, Wagner leafs through a book on German literature by

Georg Gottfried Gervinus: "From a few remarks in Gervinus's History, I formed a particularly vivid picture of Hans Sachs and the mastersingers of Nuremberg During a walk, I conceived a comic scene in which the popular artisan-poet gives the marker his comeuppance for previous pedantic misdeeds at official singing contests." Wagner's comments require a bit of explanation. Artistic descendants of the four-

31 Week 3 teenth-century Minnesingers (Germany's answer to the French troubadours), the mastersingers first emerged in the fourteenth century and flourished in the sixteenth, especially in the Bavarian town of Nuremberg. The most famous representative of this guild of poet-musicians was the cobbler Hans Sachs, who, by the time in died in 1576 at the age of eighty- two, had written no less than 4300 poems (though only about a dozen melodies), notable for their unusual mixture of amorous themes and Lutheran doctrine.

Admission to the guild of mastersingers was no easy matter, requiring as it did a thor- ough knowledge of the complicated code (or Tabulatur) of rules and regulations by which every acceptable mastersong had to abide. The guardians of the code were called markers, no doubt because at public singing contests they loudly checked off the ner- vous participants' errors on slate tablets. As Wagner knew only too well, the spirit of the markers lived on in the writings of many nineteenth-century music critics, and he merci- lessly lampooned one of them—the influential Viennese writer and ardent anti-Wagner- ian Eduard Hanslick—by initially dubbing the marker in Die Meistersinger "Hans Lich." (He later changed the name to Sixtus Beckmesser.) It goes without saying that Wagner's opera would have kept a sixteenth-century marker very busy indeed. One of the many broken rules was the injunction against plagiarism, the requirement that no new melody repeat more than four successive pitches from an older one. Clearly, Wagner's citation of

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32 a six-note phrase from a mastersong by Heinrich Mugling in the brass fanfare that comes near the opening of the Act I Prelude would have occasioned many strokes on the marker's slate. First envisioned in a flash of inspiration, Die Meistersinger was many years in the making. After writing a prose draft of the text in 1845, Wagner shelved the project until 1861, when, on a train ride from Venice to Vienna, he conceived the main themes of the orchestral prelude to Act I "with the utmost clarity." Six years would elapse, however, before the opera was actually complete, and yet another before the Munich premiere in June 1868. In the period between conception and realization, Meistersinger had evolved from a lighthearted romantic comedy (focusing on the attempts of a nobleman-singer named Walther von Stolzing to win the hand of Eva, daughter of a wealthy master- singer) into a probing exploration of an aesthetic issue: the relationship between innovation and tradition—and also between heart and brain—in the process of artistic creation. Wagner already sets down the terms of the debate in the Act I Prelude. While the opening marchlike theme and the subsequent fanfare are embodiments of tradition in general and of the hallowed values of the mastersingers in particular, the expressive and mildly chromatic theme that follows (a premonition of Walther 's Prize Song in the third act of the opera) is an emblem of the newer trends in nineteenth-century music.

At the end of the prelude Wagner brilliantly resolves the conflict by combining all of these musical ideas in an unforgettable display of contrapuntal skill. Similar tensions underpin the prelude to Act III. The leading idea here is a long, ruminative melody first stated by the cellos alone—a melody that will surface later in Sach's "Wahn monologue. " Not easily translatable with a single word, Wahn is both the destructive illusion that can bring on disorder and confusion, and the productive illusion necessary for the creation of lasting works of art. The Meistersinger preludes leave little room for doubt as to

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which kind of " Wahn Wagner was interested in promoting. " Wahn of the more unsettling type was a favored theme in the psychologically charged artworks of late nineteenth-century Vienna, the city where ARNOLD SCHOENBERG came of age as a composer and thinker about music. The work that provided the inspirational source for his Verkldrte Nacht—completed, as a string sextet, in December 1899, and arranged for string orchestra in 1917—was a poem of the same name by Richard Dehmel. The voice of a narrator sets the scene, telling of a man and woman who walk by moonlight in "bare, cold woods." Then the woman speaks, informing her lover that she is carrying a child that is not his. After a brief aside from the narrator ("The woman's somber glance drowns in the moonlight"), the man comforts his guilt-ridden partner: "May the child you conceived cease to burden your soul A special warmth radiates from you into me. It will transfigure the child." The narrator has the last word, ending the poem with an allusion to its opening lines: "Two people walk through the high, clear night." Schoenberg must have recognized that Dehmel's verses already suggested a musical form: a kind of rondo in which the narrator's commentary functions as a refrain and the monologues for the woman and man as episodes. This structural feature in turn facili- tated his translation of the poem's emotional trajectory—from anxiety, through consola- tion, to transfiguration—into purely musical terms. Thus Schoenberg begins with a lan- guid march in D minor that at once recalls the solemn tread of the lovers and reflects the eerie calm of the barren, moonlit landscape. The woman's confessional monologue, however, generates agitated, chromatic themes, all of which are subjected to intense develop-

ism

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36 ment, both motivic and contrapuntal. After a brief but emphatic reference to the opening march, the music corresponding to the man's monologue begins with a warm cello melody in D major and proceeds with a transformation of all of the "woman's" themes from their previous, agonized state into musical images of serenity and bliss. The final stage in the process of transfiguration comes as the introductory music blossoms into a soaring violin line over strummed chords and fluttering tremolos—a stunning represen- tation of the "high, clear night." To judge from the many revisions in the autograph score, the composition of Ver- kldrte Nacht cost Schoenberg quite a struggle. Interestingly enough, the signs of this struggle are less evident in the "cerebral" first part of the sextet than in the "emotional" second part, in precisely the passages where Schoenberg laid bare his heart. —John Daverio

John Daverio is a Professor in the Department of Musicology at Boston University. He is the author of Robert Schumann: Herald ofa "New Poetic Age," Nineteenth-Century Music and the German Romantic Ideology, and a variety of articles on the music of Schumann, Brahms, and Wagner. He has lectured widely on these topics in the United States and abroad and has also provided liner notes for numerous compact discs. He is also active as a violinist, in which guise he focuses on music of the twentieth century. He is currently writing a new book, Crossing Paths: Perspectives on the Music of Schubert, Schumann, and Brahms, for Oxford University Press.

GUEST ARTISTS James Conlon James Conlon has conducted a broad range of operatic and symphonic rep-

ertoire throughout the United States, Europe, and Japan. He is currently in his fourth season as principal conductor of the Paris Opera, where his contract was recently extended through August 2004. Since 1989 he has also been general music director of the City of Cologne, Germany, where

he is principal conductor of the Gurzenich Orchestra-Cologne Philhar- monic. This season he celebrates his twenty-first anniversary as music director of the Cincinnati May Festival, America's oldest choral festival. Since his New York Philharmonic debut in 1974 at the invitation of Pierre Boulez, Mr. Con- lon has appeared with virtually every major orchestra worldwide. He is also a frequent guest at such leading music festivals as Aspen, Ravinia, and Tanglewood. Since his first Metropoli- tan Opera performance in 1976, he has led more than 200 performances with that company, encompassing works in the Italian, German, French, Russian, Czech, and American reper- toires. He has also conducted at La Scala, the Royal Opera at Covent Garden, the Paris Opera, Lyric Opera of Chicago, and the Maggio Musicale Fiorentino. This season in Paris he led new productions of Falstaff 2nc\ Les Contes d'Hoffmann and revivals of Turandot and Derfiegende Hollander. Also in Paris he gives concerts with the Paris Opera Orchestra in both of the company's houses, the Bastille and the Palais Gamier. In Cologne he conducts approximately half of the Cologne Philharmonic's subscription programs in addition to special concerts and international tours. This season he took the orchestra to South America, Spain, and Greece, and concluded his complete Wagner Ring cycle with a concert performance of Gotterdammerung. This summer Mr. Conlon returns to Tanglewood, where he conducts both the Boston Symphony and the Tanglewood Music Center Orchestra, and to the Aspen Music Festival and School, where he leads both the Aspen Chamber Symphony and Aspen Festival Orchestra. In 2000-2001, besides guest appearances including the Cleveland Orchestra, New York Philharmonic, Boston Symphony, and National Symphony, he will lead the Fort Worth Symphony at the finals of the Van Cliburn International Piano Competition. At the Paris Opera he will conduct Nabucco, Don Carlo, and Parsifal, as well as new produc-

37 Week 3 —

Listening To Girls Each summer, thousands of people rock climbing and Tae Kwon Do. They come to the Berkshires to listen. write short stories, conduct complex They come to hear these old hills scientific experiments, build software echoing with the world's most glorious programs, and plan study-abroad trips. music. To be still and to listen—that is a They look forward to college as a place powerful thing. The Berkshires, after all, are to learn and gain new levels of compe- quiet, conducive to the pleasures of listen- tence. In the quiet, girls acquire con- ing. Elsewhere, to turn off the din and truly fidence and strength. They begin to listen—well, that is more of a challenge. dream big dreams.

The voices of girls are especially hard to Listen to what girls in girls' schools say. hear, particularly through the cacophony Listen to the ideas they have for history of what our culture is projects. Listen to their Founded in 1898, Miss Hall's School saying to them. Here's opinions on computer was one of the first girls' boarding what to wear, here's how game violence, or cen- schools established in New England. to look, here's how you Today, the School is a nationally sorship, or biotechno- should behave, how you ranked independent secondary school logy. Listen to how they should think. Don't ask offering a rigorous and innovative discuss art and music college-preparatory program. Miss too many questions. and politics. It is amaz- Hall's School enrolls approximately Don't talk back. Your ing what girls can do 130 girls, representing 19 states appearance is more when we respect their and 12 countries. For more infor- important than your mation, please call the Admission opinions. They will programming skills and Office at 1-800-233-5614. Tours organize community ser- your writing. Choose and information sessions are vice projects and learn scheduled throughout the summer. your college based on new languages. They will You can also visit Miss Hall's at your boyfriend. publish magazines and http://www.misshalls.org start businesses. Look at

What do girls themselves have to say? the machines they build. Look at the

Younger girls, before they reach adoles- presentations they put together. Listen cence, typically have a lot to say. They to the music they compose. They will, in know what they want. Their voices are the quiet, learn to excel. clear. But as girls enter their teens, we hear them less clearly. Often, their voices We listen to girls at Miss Hall's School. grow smaller as they try to make sense of We turn down the noise and listen. In the world and discover the true girl this space apart, we give girls the oppor- inside. Sometimes their voices change tunity to be heard, to be leaders, to and we no longer recognize them. develop their own voices, their own ideas, their own vision of who they want

But when we create some quiet, girls' to be. And suddenly it's not so quiet any- voices grow stronger. In a girls' school, more but filled with the joyful music of girls become adventurous. They take up young women becoming themselves. MISS HALL'S SCHOOL 492 Holmes Road, Pittsfield, MA 01202 • (800) 233-5614 • Fax (413) 448-2994

38 tions of Don Quixote and Peter Grimes. An ardent champion of the works of Alexander Zem- linsky, Mr. Conlon has embarked on a series of performances in Cologne and recordings for

EMI Classics which, when complete, will encompass nearly all of Zemlinsky 's operas and orchestral works. In June 1999 he was awarded the Zemlinsky Prize for his efforts in bringing the composer's music to international attention, a prize that the Zemlinsky Foundation, created by the composer's widow more than a decade ago, has presented just once before. Mr. Conlon has recorded prolifically for EMI, Erato, and Sony Classical. Among his recent television appearances are the documentaries "Playing With Fire" and "Hearing Ear to Ear With James Conlon" about his work with finalists of the Tenth Van Cliburn International Piano Competition. Born in New York City, James Conlon made his professional debut in 1971 at the Spoleto Festival conducting Boris Godunov. The following year, while still a student at Juilliard, he made his New York debut conducting a Juilliard production of La boheme as a protege of Maria Callas. Named an Officier de l'Ordre des Arts et des Lettres by the French government in 1996, Mr. Conlon made his Boston Symphony debut in January 1981, appeared with the orchestra most recently last July at Tanglewood, and leads two concerts with the BSO here this summer. Earlier this summer he led a performance of Mahler's Fifth Symphony with the Tanglewood Music Center Orchestra.

Barbara Bonney

American soprano Barbara Bonney is widely recognized as one of the foremost Lieder singers of her generation, and as a prime exponent of Mozart and Strauss operatic roles. Her broad repertoire ranges from the Baroque to twentieth-century music, and her thoughtful approach to pro-

gramming is particularly evident in the recitals that serve as the corner- stone of her career. As part of her dedication to the song literature and the art of the recital, she frequently gives master classes for young singers

while on tour. The breadth of Ms. Bonney s artistic interests is reflected in the more than seventy recordings she has made for major labels, including London/Decca, Deutsche Grammophon, Teldec, Angel/EMI, and Philips. Her impressive discography en- compasses Lieder, sacred and choral music, opera, and contemporary works. She has recorded her favorite Mozart roles with Nikolaus Harnoncourt and the Concertgebouw Orchestra, and with the Drottningholm Court Theatre and Arnold Ostman using period instruments. In her signature role of Sophie she appears in two video recordings of Der Rosenkavalier, one with Sir Georg Solti, the other with Carlos Kleiber. Ms. Bonney has been an exclusive Decca artist since 1996. She has recorded songs of Robert and Clara Schumann with Vladimir Ashkenazy, twentieth-century American songs with Sir Andre Previn, including his Sallie Chisum Remembers Billy the Kid, which was written specifically for her, and a disc of Strauss songs, including the piano version of Strauss's Four Last Songs, with Malcolm Martineau.

Her latest recital disc, with Antonio Pappano as pianist, is a program of Nordic songs entitled "Diamonds in the Snow." Ms. Bonney opened the 1999-2000 Wigmore Hall season with a series of Goethe anniversary recitals. Also this past season she toured with the Con- certgebouw Orchestra and Riccardo Chailly singing Mahler's Fourth Symphony. Engage- ments this summer and in the coming season include recitals at the Ravinia and Vancouver festivals, a concert appearance with the Vancouver Symphony Orchestra, Bach's B minor Mass at the Saito Kinen Festival, Mendelssohn's Elijah with London's Philharmonia Orches- tra, Aaron Jay Kernis's Simple Songs with the New York Philharmonic, Mahler's Fourth Sym- phony with the London Philharmonic, and the role of Zdenka in Strauss's Arabella at the Metropolitan Opera and at the Opera-Chatelet in Paris. Ms. Bonney made her Boston Sym- phony debut in January 1993 and has since appeared regularly at Symphony Hall and at Tanglewood, where she has also performed with the Tanglewood Music Center Orchestra and in recital.

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40 2000 Tanglewood BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship, fullyfunded in perpetuity Bernard Haitink, Principal Guest Conductor

Sunday, July 23, at 2:30

SEIJI OZAWA conducting

LIEBERSON Red Garuda, for piano and orchestra PETER SERKIN

INTERMISSION

TCHAIKOVSKY Symphony No. 5 in E minor, Opus 64 Andante—Allegro con anima Andante cantabile, con alcuna licenza Valse. Allegro moderato Finale: Andante maestoso—Allegro vivace- Moderato assai e molto maestoso—Presto- Molto meno mosso

RCA, Deutsche Grammophon, Philips, Telarc, Sony Classical/CBS Masterworks, Angel/EMI, London/Decca, Erato, Hyperion, and New World records Baldwin piano

Peter Serkin plays the Steinway piano.

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should he switched off during the concert.

Please do not take pictures during the concert. Flashbulbs, in particular, are distracting to the musicians and other audience members.

41 Week 3 # Baldwin & Tangleuiood # Celebrating A 61 -Year Musical Partnership

This season marks Baldwin's 61 st anniversary with Tanglewoocl. This very special association runs deep into the histories of both organizations. It began when Lucien Wulsin II, president of Baldwin during the 1920s and 30s, met Serge Koussevitzky, the renowned Russian conductor and music director of the BSO. Koussevitzky was involved with

Tanglewood from its inception and founded the Ser^e Koussevitzky (above) Berkshire Music Center in 1940. Liu ten Wulsin II (left)

Wulsin, whose family had French- European roots, became good friends with

Koussevitzky, who had lived in France in the early 1920s. It was this friendship, combined with noted Baldwin piano quality, that initiated the time-honored

Baldwin-Tanglewood tradition.

Since those early years, Baldwin has been the piano of choice

for Tanglewood and many of its visionary leaders and alumni, including Charles Munch, Leonard Bernstein,

Aaron Copland, Lukas Foss, Charles Dutoit and Seiji

Ozawa. Today, the Baldwin tradition continues to grow with

celebrated Tanglewood conductors Keith Lockhart and

Robert Spano hecom\ng Baldwin Artists in recent years

This season, Baldwin pianos will share the stage at Tanglewood's orchestral and chamber music instrumental and vocal recitals, student performar the Festival of Contemporary Music, and performances by popular and jazz artists. As

Official Piano, Baldwin is honored to play its part in the rich history and ongoing tradition of

Tanglewood. Here's to the next 61 years!

42 NOTES ON THE PROGRAM

PETER LIEBERSON (b.1946) Red Garuda, for piano and orchestra First performances: October 14-15-16, 1999, Symphony Hall, Boston, Boston Symphony Orchestra,

Seiji Ozawa cond., Peter Serkin, piano. Commissioned by the Boston Symphony Orchestra.

This is thefirst Tanglewoodperformance. PYOTRILYICH TCHAIKOVSKY (1840-1893) Symphony No. 5 in E minor, Opus 64

First performance: November 17, 1888, St. Petersburg, Tchaikovsky cond. First BSO performances: October 1892, Arthur Nikisch cond. First Berkshire Festivalperformance: August 16, 1936, Serge Koussevitzky cond. First Tanglewoodperformance: August 11, 1940, Koussevitzky cond. Most recent Tanglewoodperformance: July 11, 1998, Seiji Ozawa cond.

PETER LIEBERSON's first acknowledged composition was Flute Variations (1971), which was given its premiere performance by Harvey Sollberger, the composer, conductor, co-founder with Charles Wuorinen of the Group for Contemporary Music, and through the 1960s New York's most eminent new-music flutist. Upon the premiere in 1983 of his Piano Concerto—a BSO centennial commission (Lieberson was the youngest of twelve composers commissioned by the orchestra on that occasion), and his first piece employing orchestral forces—Lieberson compared the two premieres. "I had virtually no public performances until that one," he said of the

Flute Variations premiere. "It's somewhat similar to the situation now [1983] in that I've composed exclusively for solo instruments or small chamber ensembles and my first piece

for orchestra is performed by the BSO."

Although it may have seemed to the casual observer of both these occasions that Lieberson had emerged sponta- neously and fully mature as a composer, his background was well suited to his musical development. His father, Goddard Lieberson, was a composer, an executive with Columbia Records, and a tireless advocate of important twentieth-century composers. His mother had been a ballerina with the Ballets Russes de Monte Carlo and with George Balanchine; later she became known for her narration of such works as Stravinsky's Persephone, Honegger's Jean d'Arc au bucher, and Schoenberg's A Survivorfrom Warsaw. Although Peter Lieberson attended New York University and, intending to become a writer, earned a degree in English literature, he was meanwhile immersed in music. He found his path through music theory via jazz, show tunes, and through countless hours of independent study of scores. He also took a job at New York's classical music station WNCN, where the legendary composers Aaron Copland and Virgil Thomson were among the broadcasters. Eventually Lieberson met the composer Milton Babbitt (b.1916) when Babbitt was invited to do a program for Copland's series of broadcasts. Lieberson, who knew Bab- bitt's music through recordings, was immensely impressed with the man, and the two connected for what Lieberson described as "informal" lessons—talking about the younger man's pieces in Chinese restaurants or at the Columbia-Princeton electronic music studios. Lieberson went on to attend graduate school at Columbia, where he studied

43 Week 3 with Charles Wuorinen (b.1938). Somewhat incidentally through Wuorinen's interest in Taoism, Lieberson encountered Buddhism. He became so interested in its philosophy that he moved to Colorado to study Vajrayana Buddhism with Chogyam Trungpa. Lieberson described the initial experience as being "very strict, and at the beginning there's no time for anything else." He stopped composing for a year, finding when he began again that his intensive study of meditation practices had changed his compositional approach, making him more aware of the direct communicative possibilities of music. After Colorado, Peter Lieberson moved to Boston, where he directed Shambhala Training, a center for the study of meditation. He received his Ph.D. from Brandeis University, where he studied with Donald Martino and Martin Boykan. In 1983 and 1988 he was a visiting composer at the Tanglewood Music Center, where a work commissioned by the Fromm Foundation had earlier been premiered in the 1973 Festival of Contemporary Music. From 1984 to 1988 he taught composition at Harvard University before moving to Halifax, Nova Scotia, to become international director of Shambhala Training. Since 1994 he has devoted his professional time to composing.

Since the 1983 premiere of the Piano Concerto, and owing a good deal to its success, Lieberson's reputation as a composer has become an international one. In addition to the subsequent BSO commission Drala (1986), his more recent pieces include a Viola Concerto (1993), an orchestral work, Fire, for the New York Philharmonic (1996), Free and Easy Wanderer for the London Sinfonietta and Aldeburgh Festival (1998), and a Horn Concerto for William Purvis and the Orpheus Chamber Orchestra (1999). In addition Lieberson has composed two works on librettos by Douglas Penick: the mono- drama King Gesar, commissioned by the Munich Biennale, premiered in 1992, and subsequently recorded by an ensemble including, among others, cellist Yo-Yo Ma and pianists Peter Serkin and Emanuel Ax; and his similarly-themed opera, Ashoka's Dream, which was given its premiere at Santa Fe Opera in 1997. Premieres in the next few sea- sons include a Cello Concerto for Yo-Yo Ma and the Toronto Symphony, an orchestral work for the Cleveland Orchestra, and a song cycle for his wife, the mezzo-soprano Lorraine Hunt Lieberson. Many of Lieberson's works, including Ashoka's Dream and King Gesar, take their impetus from the composer's study of Eastern philosophy. Red Garuda takes its title from a supernatural being in Hindu and Buddhist mythology (see the composer's note,

minutes of commercial-free music.

we can it a symphony. GBHS; fm www.wgbh.org

44 below). In Red Garuda, Peter Lieberson approaches the treatment of soloist and orchestra differently from the more abstract perspective of the Piano Concerto, Horn Concerto, and Viola Concerto. While the soloist in Red Garuda is at times an instigator of musical actions, the role is less one of opposition or hierarchy than that of a partner in the mutual presentation of the material. Nor does the pianist represent, in any discrete way, the garuda of the piece's title; music that directly refers to the garuda is presented in all of the sections of the orchestra. The piece is in four movements, with a slow but building introduction and three, contrasting, highly illustrative variations. Though it is not programmatic in a narrative way (like, for example, Berlioz's Symphoniefantastique), Lieber- son uses the music to evoke particular landscapes. The musical materials he employs range from complex gestural figures to the more succinctly descriptive motif of the garuda; Lieberson's thoughtful use of his basic material results in passages of diverse beauty, from the intensity of the Fire Variation to moments of quiet lyricism in the Water Variation and the "windy music" of the Earth/Wind Variation. —Robert Kirzinger

The composer has provided his own program notefor Red Garuda:

The Garuda is a mythical bird, enormous, reddish-orange with wings of celestial metal. My piece, Red Garuda, began with an imagined journey. I was alone in a desolate mountain retreat. Out of the black night sky a garuda appeared like a shadow without origin. As it flew towards me I lost consciousness. When I awoke I was on the back of the garuda flying over different landscapes—a landscape of viscous, bubbling fire; a deep, calm lake whose borders could hardly be seen in the distance; a rugged, moun- tainous landscape buffeted by winds, sometimes gentle, other times howling. I could hear the flapping of the giant bird's wings and its eerie caws.

All of this suggested variations to me: the short first movement was like the night sky out of which the garuda emerges. When the piano first enters and the music be- comes forceful and pulsing, it is like the first appearance of the garuda. At a certain point for me the vision of the journey on the garuda and the musical material began to represent each other. Then I was able to continue with the variations. The second movement is a "Fire Variation," unpredictable, music rising from the depths. The image

I had was of someone stir- ring a giant cauldron. By contrast the third movement ["Water Varia- tion"] is calm and still, ocean-like. The music does become more impassioned, but, to my ears, wave-like and steady at the same time. The fourth and final movement is earthy and dance-like, punctuated by more "windy" music. I call it an "Earth/Wind Varia- tion." Throughout the piece Peter Lieberson, Peter Serkin, and Seiji Ozawafollowing the presence of the garuda the Tanglewoodpremiere ofLieberson's Piano Concerto on can be felt, sometimes only August 14, 1983

45 Week 3 46 as a motive in the drums and bass drum, an evocation of flapping wings.

It is hard to explain how a compelling image and music that is inherently without images or associations can become so intertwined as they did for me in Red Garuda. Nonetheless, this relationship seems to be at the core of my composing now, as does my interest in identifying with the elements as a way to evoke different kinds of music. I can only hope that the results of this step along the way, which has proven so meaningful to me at a time when my feelings and ideas about composing were in complete upheaval and I was unsure of how to continue at all, will be meaningful to those who listen. —Peter Lieberson

Composers are not always the best judges of their own music. Blinded by inspiration, protective of their newborn compositions, perhaps they shouldn't be blamed for lacking objectivity. At the moment a composer places the last note on a new symphony—still immersed in the creative process—s/he may find it nearly impossible to attain any distance from what has just been produced, or to evaluate with sobriety. As time passes, a composer's relationship to his/her music may also change: what once seemed to its cre- ator a work of genius may, ten years and several symphonies or operas later, seem puerile and strained. PYOTRILYICH TCHAIKOVSKY provides an unusually vivid example of the wildly fluctuating—some might say neurotic—relationship an artist can have with his own work. His moods—judging from his voluminous corre- spondence, diaries, and memoirs written by relatives and friends —could swing within the course of a single day from elation to desperation to serenity. When he was working on one of the symphonies or concertos that have become today cornerstones of the classical repertoire, his emotional state was most often fragile and unstable. Nor did Tchaikovsky's personality mellow with middle age and fame. The Symphony No. 5, completed in 1888, more than a decade after the highly successful Symphony No. 4, was a source of intense dissatisfaction to its already famous, yet still oddly insecure, composer. By 1888 Tchaikovsky was acclaimed for his first four symphonies, the two piano concertos and violin concerto, and stage works like the ballet Swan Lake and the opera Eugene Onegin. Even so, as he approached the age of fifty he was haunted during his work on the Fifth Symphony by the irrational and obsessive belief that he was finished as a composer. From a rented country house in the town of Frolovskoye, not far from Moscow, he wrote to his brother and confidant Modeste on May 15, 1888, "In the evenings at sun-

set I stroll through the open fields; the view is luxurious. In a word, everything would be fine if it weren't for the terrible cold and rain. I haven't starting working yet. But to

tell the truth, I still have absolutely no desire to create. What does that mean? Have I

finally written myself out? I have no ideas and no inspiration! But I'm hoping that little by little material for the symphony will come together." His block vanished and, as always, the material did come together: only six weeks later the whole Fifth Symphony was sketched out. (That the soggy weather had improved may also have helped.) "I'm

terribly anxious to prove not only to others, but to myself, that I haven't dried up," Tchaikovsky wrote, in his usual hyperbolic style, to his patroness Nadezhda von Meek.

But even after completing the Fifth Symphony, Tchaikovsky was uncertain of its worth. "Imagine my joy!" he wrote with childlike enthusiasm to Modeste in early Sep-

47 Week 3 tember 1888. "My new symphony is creating a sensation among my Moscow acquain-

tances. And I thought it would never be right, and imagined with terror how they would delicately hide from me that I had written trash."

The positive reception accorded the Fifth Symphony first by Tchaikovsky's colleagues,

and later in the fall by Russian and European audiences (the premiere took place in St. Petersburg on November 17), did not suffice to convince the composer, either. Troubled by reviews that compared the Fifth unfavorably to his earlier compositions, he wrote to von Meek in late December: "Each time I hear it, I become more and more convinced

that my most recent symphony is an unsuccessful work, and this consciousness of an unintentional failure greatly saddens me The future will show if I'm mistaken in my

fears or not, but in any case it's a pity that a symphony written in 1888 is inferior to one written in 1877." The Fifth Symphony may be somewhat more restrained than the equally popular

Fourth, but in no way is it "inferior." If anything, the Fifth develops more completely and convincingly the kind of dramatic programmatic structure introduced in the Fourth. Both symphonies use a "signature" motif with extramusical significance as a basic orga-

nizing principle. In both symphonies, this motif comes in the opening bars of the first movement and then reappears elsewhere. The Fourth's motif (as Tchaikovsky told von r 1 THE BEST WHEN ' & PERFORMANCES IN p DO I CLAP? THE THEATER TONIGHT A Slightly Irreverent Guide to MAY JUST BE Classical Music and Concert Hall Conduct IN THE AUDIENCE.

by Valerie Cruice

Ever been so inspired by the sheer power of live classical music that you clapped with wild abandon — at the wrong time? Here is a lighthearted

Acting as if a chemical guide to the proper timing of applause

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Meek in a detailed written synopsis) is the "fate theme": the "idea of fate which prevents the impulse to happiness from attaining its goal." The composer expresses this idea musically with a blaring fanfare in the brass which appears most prominently in the Fourth's

first movement, and reappears towards the end of the last movement, growing ingeni- ously out of a Russian folk song. By contrast, the Fifth opens gloomily and softly, with what sounds like a funeral march played by two clarinets. This motif subsequently appears in each of the following

three movements, where its emotional and thematic significance is radically transformed —into grief, suffering, and ultimately triumph—through the composer's mastery of harmony, meter, and orchestration. Tchaikovsky failed to provide an extended description of the ideological role of the Fifth Symphony's signature motif, but a few mysterious

remarks he wrote in his diary have led scholars to label it the "Providence motif." Under

the heading "Program for the first movement of the symphony," Tchaikovsky wrote:

Introduction. Complete resignation to fate, or to something similar the inscrutable design of Providence.

Allegro I) Murmurs, doubts, lamentation, reproaches against XXX.

II) Should I throw myself into the embraces of Faith???

In the Manfred Symphony (inspired by Byron) completed just three years before the Fifth, Tchaikovsky had introduced Manfred's motto-theme into every movement; this experience clearly aided the composer in inserting the "Providence" motif so skillfully into each of the movements of the Fifth Symphony. Its musical and emotional contours permeate the entire work in a manner that would be widely imitated by Tchaikovsky's symphonic successors in Russia and elsewhere. Perhaps the composer's supreme tour de force is his unobtrusive and telling introduction of the "dark" motif into the coda of the

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49 2001 Tanglewood Schedule

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Telephone "light" third-movement waltz. Eventually, even the chronically insecure Tchaikovsky came to appreciate the significance of his enormous accomplishment—but not without some lingering reservations. In early 1889, he conducted the Fifth Symphony in several European capitals where it received tumultuous ovations. From Hamburg on March 12, Tchaikovsky wrote to Modeste that Johannes Brahms had delayed his departure from the city in order to hear him conduct the Fifth at rehearsal. "After the rehearsal we had something to eat and did some good carousing. Brahms is very appealing, and I like his directness and simplicity. Neither he nor (apparently) the musicians liked the symphony's finale, but what's more important, I can't stand it, either." —Harlow Robinson

Harlow Robinson, Professor of Modern Languages and History at Northeastern Univer- sity, is author of biographies of Sergei Prokofiev and Sol Hurok, and editor and translator of Selected Letters ofSergei Prokofiev (Northeastern). He has written essays and articles for the New York Times, Los Angeles Times, Musical America, Opera News, Stagebill, and other publications, and has lectured for the Boston Symphony, New York Philharmonic, Lincoln Center, Metropolitan Opera Guild, and Philadelphia Orchestra. He is currently at work on a history of Soviet music for Chicago Review Press.

GUEST ARTIST

Peter Serkin

American pianist Peter Serkin has developed a reputation as one of the most thoughtful and individualistic musicians appearing before the public today. His recital appearances, chamber music collaborations, recordings, and performances with symphony orchestras have won worldwide acclaim. Mr. Serkin's rich musical heritage extends back several generations. His grandfather was the violinist-composer Adolf Busch, his father the pianist Rudolf Serkin. In 1958, at age eleven, he entered the Curtis Institute of Music, where he was a student of Lee Luvisi, Mieczyslaw Horszowski, and Rudolf Serkin. He later continued his studies with Ernst Oster, Marcel Moyse, and Karl Ulrich Schnabel. In 1959 he made his debut at the Marlboro Music Festival, which was closely followed by his New York debut; both these concerts were conducted by his close friend and colleague Alexander Schneider. He was then engaged for concerto performances

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51 The Tanglewood Association of the Boston Symphony Association of Volunteers and The Berkshire Museum jjjl Tanglewood present ft ReDISCOVERING MUSIC 2000

6 Tuesdays from 10 a.m. to noon at The Berkshire Museum, 39 South St., Pittsfield, MA

July 11 Andrew Pincus, music critic of the Berkshire Eagle and author of "Tomorrow's Audiences Today," with guests from the BSO

July 18 Maurice Peress, conductor, musicologist, and professor at Queens College, on "Aaron Copland and the Influence of Jazz on American Composers"

July 25 Phyllis Curtin, Tanglewood Music Center Master Teacher and Artist in Voice, on "Falstaff—Life in the Family at Windsor" August 1 Martin Bookspan, broadcaster and writer, in an interview with a surprise guest

August 8 "Composers Speak—Highlights from Tanglewood 's Contemporary Music Festival 2000," with Cece Wasserman, interviewer August 15 No Lecture

August 22 Joseph Silverstein, violinist, former BSO concertmaster, and Conductor Laureate of the Utah Symphony

Tickets available at the door, $10 each session. For more information, call The Berkshire Museum at (413) 443-7171, ext. 20.

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52 with Eugene Ormandy and George Szell, since which time he has appeared with the world's major symphony orchestras. In chamber music he has performed with Alexander Schneider, Pablo Casals, Pamela Frank, Yo-Yo Ma, the Budapest String Quartet, the Guarneri String ; Quartet, the Orion String Quartet, and Tashi, of which he was a founding member. He has been honored as the first pianist to receive the Premio Internazionale Musicale Chigiana in recognition of his outstanding artistic achievement. Mr. Serkin has performed many important world premieres; as an example, his recital program of 1989-90 featured eleven commissions from ten composers. The late Toru Takemitsu wrote seven works for him, including three works with orchestra, a solo piano piece, and several chamber works. In 1983 he premiered Peter Lieberson's Piano Concerto with Seiji Ozawa and the Boston Symphony Or- chestra. For his most recent BSO appearance, in October 1999, he played the premiere of Lieberson's Red Garuda. Last summer, Mr. Serkin's schedule included performances at the San Francisco Symphony's Stravinsky Festival, the Mann Music Center, Tanglewood, Ravinia, the Saratoga Performing Arts Center, and the Blossom Festival. Orchestral engagements in 1999-2000 included performances with the Baltimore Symphony, Saint Paul Chamber Or- chestra, Philadelphia Orchestra, and National Symphony Orchestra, among others, as well as an eleven-city tour of the United States playing Brahms's D minor piano concerto with the Vienna Radio Symphony Orchestra. Recital engagements in 1999-2000 included performances at New York's Carnegie Hall, Chicago's "Symphony Center Presents," and the Gilmore International Keyboard Festival. As distinctive and varied as his programming, Peter Serkin's recordings range from Bach to Berio. Recent releases include the Brahms violin sonatas with Pamela Frank, the Henze and Brahms piano quintets with the Guarneri String Quartet, "Music for Two Pianos" with Andras Schiff, "Quotation of Dream" with Oliver Knussen and the London Sinfonietta featuring music of Toru Takemitsu, and a new recital album on Koch, "The Ocean that has no West and no East," including music by Webern, Wolpe, Messiaen,

Takemitsu, Wuorinen, Knussen, and Lieberson. Peter Serkin is on the faculties of the Juilliard School, the Curtis Institute of Music, and the Tanglewood Music Center. He has performed frequently with the Boston Symphony Orchestra in Symphony Hall and at Tanglewood since his BSO debut in July 1970. His recording with Seiji Ozawa and the Boston Symphony Or- chestra of Peter Lieberson's Piano Concerto is available on New World Records.

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53 THE KOUSSEV1TZKY SOCIETY

The Kousscvit/kv Society recognizes gifts made since September 1, 1999, to the following funds:

ranglewood Annual Fund, Tanglewood Business Fund, Tanglewood Music Center, and the Kousse-

vitzkv Music Shed and Seiji Ozawa Hall endowed seats. The Boston Symphony Orchestra is grateful

to the following individuals, foundations, and corporations for their annual support of $2,500 or more

during the 1999-2000 season.

MAESTRO CIRCLE

Anonymous William and Flora Hewlett Foundation Mrs. Evelyn Nef

George and Roberta Berry Supporting Mr. Charles H.Jenkins, Jr. Vincent and Annette O'Reilly Organization Mr. and Mrs. George Krupp The Red Lion Inn

Country Curtains Barbara Lee/Raymond E. Lee Mr. James V. Taylor and Fromm Foundation Foundation Caroline Smedvig

BENEFACTORS

ASCAP Foundation The Frelinghuysen Foundation James A. Macdonald Foundation Susan L. Baker and Michael Lynch Friends of Armenian Culture Mrs. August R. Meyer

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Crane 6c Company, Inc. Housatonic Curtain Company Mrs. Anson P. Stokes

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Mr. and Mrs. Channing Dichter Robert S. Kahn Mrs. Pamela M. Thye English Speaking Union Hirsch Kaplan and Linda Vogel Kaplan Ms. June Ugelow Mr. and Mrs. Milton Fink Mr. and Mrs. Howard Kaufman Benjamin N. Woodson and Mr. and Mrs. Dale E. Fowler Mr. and Mrs. Edward A. Kimmel Mary Crowell Hon. Peter H.B. Frelinghuysen Mr. and Mrs. Philip Kruvant Mr. and Mrs. Eric K. Zeise Mr. and Mrs. Belvin Friedson Jack and Shirley Kurtz Mandel Mrs. Haskell R. Gordon Mr. and Mrs. K. Fred Netter

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~~56 COPLAND AND THE MOVIES A Film Festival at Tanglewood~~

~~Sunday, July 23, at 9 p.m.—"The Heiress" (1949) Introduced by Gene Shalit~~

~~Monday, July 24, at 9 p.m.—"The Cummington Story" (1945) and "Our Town" (1940) Introduced by Harlow Robinson~~

~~Tuesday, July 25, at 9 p.m.—"The City" (1939) and "The Red Pony" (1948) Introduced by John Williams~~

~~Wednesday, July 26, at 9 p.m.—"Of Mice and Men" (1939) Introduced by Harlow Robinson~~

~~All in Seiji Ozawa Hall; free admission.~~

As part of its celebration this summer marking the 100th anniversary ofthe birth ofAaron Copland (1900-1990), Tanglewood is pleased to present six ofthe eightfilms—excluding "The North Star" (1943) and "Something Wild" (1961)—for which Aaron Copland wrote the music. Following birthday celebrations in 1975, 1980, and 1985, this is Tanglewood's fourth tribute to the composer, who was a reveredfigure in Tanglewood s history and a long- timefaculty member at the Berkshire Music Center (now the Tanglewood Music Center).

~~Copland and His Film Music by Harlow Robinson~~

~~Aaron Copland is one of the very few American composers who succeeded in bridging the abyss separating the worlds of serious "classical" music and Hollywood movie music.~~

In the United States, commercial concerns dominated the film industry from its earliest years. Most Hollywood directors treated music the way a hostess treats servants at a fancy party: as a necessity that should go largely unnoticed. As a result, film composers were relegated to a different category than "composers" (though we did see a welcome exception last year, in John Corigliano's romantic and complex Oscar-winning score for The Red Violin). This cultural divide only deepened in the second half of the twentieth century, as composers gravitated to university music departments and the demand for "pop" scores grew in Hollywood. The situation was quite different in other countries. In the USSR, for example, the state-subsidized (and state-controlled) film industry frequently employed such recognized classical masters as Sergei Prokofiev, Dmitri Shosta- kovich, Aram Khachaturian, and, more recently, Alfred Schnittke and Sofia Gubaidulina.

Copland scored his first film {The City) in 1939 and his last {Something Wild) in 1961, but seven of his eight scores were composed between 1939 and 1949. During this decade, Copland was nominated on four occasions for six Academy Awards (four for Best Original Score, and two for best score); he finally won an Oscar the last time around, in 1949, for The Heiress. Of his eight scores, two were composed for documentaries. Funded by the Carnegie Corporation and first screened at the 1939 World's Fair, The City attempted to show a Utopian vision of the American (suburban) future. Much less well- known is the "pseudo-documentary" The Cummington Story (1945), a brief and tenden- tious look at the assimilation of Eastern European refugees into a quaint New England village; this was made for the Office of War Information for foreign distribution as part of the US propaganda effort.

The six features Copland scored were heavily publicized mainstream (if unusually high-minded) films made by well-established directors (Lewis Milestone, William Wyler) for major studios (Paramount, Goldwyn) and employing stellar writing (John Steinbeck, Lillian Hellman, Thornton Wilder, Henry James) and acting talent (Burgess

Meredith, Lon Chaney Jr., William Holden, Erich von Stroheim, Walter Huston, Rob- ert Mitchum, Olivia de Havilland, Montgomery Clift). Three were based on popular recent works of American literature, two by John Steinbeck {OfMice and Men, The Red Pony) and one by Thornton Wilder {Our Town). A fourth {The Heiress) drew on a recent Broadway adaptation of a nineteenth-century classic, Henry James's novella Washington

Square. Only one of the eight films—the bizarre and propagandistic The North Star—is set outside of the United States, in a Ukrainian village just before and after the 1941 Nazi invasion of the USSR. By the time he began working in Hollywood, Copland had established his independent "classical" reputation with works like the ballet Billy the Kid, the Piano Concerto, and El Salon Mexico, and his music had already been embraced by such important conductors as Serge Koussevitzky, who frequently included works by Copland on his programs at the Boston Symphony in the 1920s. For this reason, Copland was able to demand and receive somewhat better working conditions in Hollywood. As Howard Pollack writes in his recent Copland biography, Russian-born director Lewis Milestone (who used Copland for three films) gave the composer twice as much time as normal to produce a score, and did not cut his music. Copland also supervised the orchestration process, a rare occurrence in Hollywood, where hard-pressed composers usually farmed out this time-consuming work to an army of subordinates. By the late 1930s, ten years after the advent of sound in cinema, the Hollywood film score had assumed a distinct style. Film composers like Max Steiner, Erich Korngold, Alfred Newman, and Frank Waxman were turning out scores at a rapid assembly-line pace. Musically, they relied very heavily on the tech- niques of leitmotifs associated with particular characters, and theme-and- variations. There was a certain pre- dictability and sameness to the scores they produced, with syrupy tunes and lush orchestration heavily indebted to the works of late Romantic composers, especially Tchaikovsky and Wagner. Copland during production "The Heiress' of Copland rejected this conventional Hollywood style, instead incorporating into his film scores the same kind of sparely orchestrated, understated, unsentimental, and muscular music that he had already used to such great effect in his concert pieces. Casting aside the repetitive and obvious leit- motif system, Copland produced a wide variety of themes for various dramatic situa- tions. Although he did on occasion use imported tunes that were not his own for period atmosphere (most notably the song "Plaisir d'amour" in The Heiress), he never stooped to and the first of his three collaborations with Russian-born director Lewis Milestone, recipient of an for All Quiet the Western Front the role of a mere arranger, as Max Steiner does in Casablanca, a film produced in the Oscar On (1930). The cast features Bur- same Hollywood of the early 1940s. Like Sergei Prokofiev (Lt. Kije), Copland recycled gess Meredith as George and Lon Chaney, Jr., as his mentally retarded but gentle friend Lennie. For his score, received two Academy much of his movie music into concert pieces that have enjoyed great popularity. Copland Award nominations, for Best received In one of several essays he wrote on the art of film music, Copland observed that film Score and Best Original Score. He also the praise of the often prickly Virgil distinguished music served to give "a sort of human warmth to the black-and-white, two-dimensional Thomson, who called it "the most populist music style yet created in figures on the screen, giving them a communicable sympathy that they otherwise would America." not have, bridging the gap between the screen "OUR TOWN" (1940; 90 minutes, black and white) and the audience." In his own distinguished [Monday, July 24] work for the cinema, Copland bridged not only Sam Wood directed this charming screen version of Thornton Wilder's lyrical play of the gap between screen and audience, but also life in the small New England town of Grover's Corners around 1900. Copland had the even greater distance between popular and seen the 1938 Broadway production and wrote that he saw the film as "the perfect vehi- classical taste. cle for putting to the test opinions I had voiced in the press—that film music should that the A frequent lecturer and annotator for the Boston follow the organic structure of a story, and music must be appropriate to the Symphony Orchestra, Lincoln Center, and the nature of that story." Transparent and unsentimental, Copland's music relies heavily on Metropolitan Opera Guild, Harlow Robinson is simple open intervals employed with skill and restraint. Copland subsequently created a Professor of Modern Languages and History at ten-minute, single-movement suite {Our Town) from the film's music. Northeastern University. Currently at work on a book about Soviet music for Chicago Review "THE NORTH STAR" (1943; 105 minutes, black and white) of Sergei Pro- Press, he is author of biographies [Not being shown at Tanglewood] kofiev and Sol Hurok, and editor and translator Copland's second collaboration with Lewis Milestone is a notorious piece of pro-Soviet of Selected Letters of Sergei Prokofiev. His articles propaganda produced by Goldwyn as part of Hollywood's short-lived effort to support and essays have appeared in the New York Times, alliance during II. original screen- Los Angeles Times, Opera News, Opera Quarterly, the American with the USSR World War Using an Copland at Tanglewood in 1947 Stagebill, and numerous other publications. play written by Communist sympathizer Lillian Hellman, The North Star shows the tragic impact of the June 1941 Nazi invasion on a fictional collective farm in Ukraine. The impressive cast includes Walter Huston, Anne Baxter, and Walter Brennan, plus Erich von Stroheim as an immoral German doctor who supervises experiments on the blood AARON COPLAND: THE FILMS (described chronologically) of unwilling child donors from the local population. It seems incredible today that this

~~Annotations by Harlow Robinson preposterously inaccurate and biased portrait of life under Stalin could have been nomi-~~

nated for six Oscars, including one for Copland's score. The music is atypical for Cop- "THE CITY" (1939; 45 minutes, black and white) land's film work in that it incorporates numerous "folksy" songs, choruses, and dances, [Tuesday, July 25] including four songs with lyrics by Ira Gershwin and numerous adaptations of Russian Produced by the American Institute of Planners and funded by the Carnegie Corpora- folk and revolutionary songs. After World War II, The North Star was denounced in the tion, The City is a documentary based on an idea by Pare Lorentz and co-directed by Cold War climate as dangerously pro-Communist. Pauline Kael later wrote that the film Ralph Steiner and Willard Van Dyke. First shown on May 26, 1939, at the New York "romanticizes the Russians so fondly that they're turned into Andy Hardy's neighbors." World's Fair, The City (with narration by city planner Lewis Mumford) is today regarded as a landmark in the history of American documentary filmmaking and an important "THE CUMMINGTON STORY" (1945; 15 minutes, black and white) "text" in the evolution of concepts of urban planning. The film advances a Utopian vision [Monday, July 24] of the "new city" developed by the Resettlement Administration in the late with 1930s, The smallest and least-known of Copland's film projects, The Cummington Story was carefully planned use of green space, the latest modern conveniences, sense and a strong produced for the Office of War Information and intended to be shown abroad. Accord- of community responsibility. In contrast to this wonderful "world of tomorrow" we see ing to Copland biographer Howard Pollack, its narrative "traces the temporary settie- sequences depicting the miserable life of the inhabitants of polluted industrial towns and ment of a group of Eastern European refugees in a quintessentially American town," the metropolis. Copland's music is heard throughout nearly the entire film, with distinct and "the music unfolds with impressive shape and continuity, notwithstanding a few themes for the quaint New England village, the squalid slums, and the noisy city. Two later cuts that naturally impeded its flow." Apparently the film was never shown in the of the movements of Copland's 1942 suite Music the Movies for ("New England Country- United States. side" and "Sunday Traffic") come from The City's score. "THE RED PONY" (1948, released 1949; 88 minutes, Technicolor) "OF MICE AND MEN" (1939; 107 minutes, black and white) [Tuesday, July 25] [Wednesday, July 26] This was Copland's third collaboration with Lewis Milestone, and their second film This screen version ofJohn Steinbeck's 1937 novella was Copland's first feature film, adaptation of a work by John Steinbeck. This time the source was The Red Pony, Stein- . :

per- beck's 1945 novella of life on a ranch in central California around 1910. Milestone suaded Steinbeck to write the screenplay, and even convinced him to alter the original bittersweet ending (in which the boy Tom finally gets his pony but the mare dies) to a less disturbing one (the pony and the mare live happily after). Robert Mitchum turns in a memorable performance as the ranch hand Billy Buck. Copland wrote nearly one hour of music for The Red Pony, some of which he later arranged in a six- movement 2001 concert suite. Tanglewood "THE HEIRESS" (1949; 115 minutes, black and white) [Sunday, July 23] Schedule For Paramount, William Wyler directed this screen version of a recent Broadway dra- matization of Washington Square, Henry James's classic novella of New York society in her portrayal the gay '90s. The cast includes Olivia de Havilland, who won an Oscar for Add your name to our mailing list. of the shy heiress Catherine Sloper; and the up-and-coming Montgomery Clift as her Receive a 2001 Tanglewood schedule fortune-hunting suitor Morris Townsend. For his score, Copland had to create a different, more sophisticated and urbane, musical atmosphere than the homespun style he and enter a drawing had used in his previous work in the movies. At the studio's insistence, he incorporated to win two free tickets appropriate period music, including the song "P/aisir d'amouf by Johann Schwartzen- dorf-Jean Florian. After being nominated on five previous occasions, Copland finally at a Tanglewood concert in 2001. won an Oscar for Best Original Score for The Heiress.

"SOMETHING WILD" (1961; 112 minutes, black and white) Coupon will be entered in a drawing for two free tickets to a regular-priced BS0 [Not being shown at Tanglewood] concert of your choice during the 2001 Tanglewood season (subject to availability). Copland returned to score Something Wild after being away from Hollywood and the movies for twelve years following The Heiress. Young Jack Garfein directed this inde- Only one entry per family is permitted. Employees of the Boston Symphony pendent feature based on a novel by Alex Karmel that tells how a girl's life and attitudes Orchestra, Inc., are not eligible. Drawing will be held in March 2001. change after she is raped and moves in with a garage mechanic. Garfein cast his wife Carroll Baker in the starring role of Mary Ann. Set in New York, the film gave Copland Please return coupon to: After September 1 an opportunity to return to the urban atmosphere of The City. The music reflects the 2001 Tanglewood Schedule 2001 Tanglewood Schedule more complex, dissonant style of Copland's later years, and was recycled in the orches- c/o Friends Office c/o Development Office tral suite Musicfor a Great City. Tanglewood Symphony Hall Lenox, MA 01240 Boston, MA 02115

~~Yes, please send me a 2001 Tanglewood schedule and enter my name in the drawing~~

~~to win two free tickets for the 2001 Tanglewood season.~~

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~~Chesterwood (]%tionaf July 1-September 3 Qhrine~~

De Vries Q")vvtttc OVtcrcy wefcomes ^ou_. Sculpture Exhibition Holy Masses Weekdays: 7:15 a.m. and 2:00 p.m. Bronze Casting Saturday: 8:00 a.m. and 2:00 p.m. Sunday: 10:30 a.m. and 2:00 p.m. Saturdays & Sundays 1:30, weather permitting Hour of Great Mercy Daily: 3:00 p.m., The Divine Mercy Perpetual Novena and Chaplet * Benediction follows Stockbridge, MA Confessions: 1:00-2:00 p.m. and 3:15-4:30 p.m. 413.298.3579 xl5 Gift Shop: Daily, 9:00 a.m.-5:00 p.m. or 413.238.7755 National Shrine of The Divine Mercy www. andrewdevries. com Eden Hill • Stockbridge, MA 01262 (413) 298-3931 • www.marian.org The Boston Symphony Orchestra salutes the following companies for their sponsorship support of the 2000 tanglewood season:

~~Opening Night at Tanglewood Sponsor~~

~~IheRedLibnInn STOCKfiRIDCK, MASSACHUSETTS~~

~~joimtxyQtftains and The Serge and Olga Koussevitzky Memorial Concert Sponsor~~

~~12-year sponsorship of the tanglewood Tickets for Children program~~

~~Baldwin~~

~~61 -YEARS OF PROVIDING PIANOS FOR the BSO at Tanglewood B S O V A T I O N~~

The support of the corporate sponsors of the Boston Symphony Orchestra at Tanglewood reflects the increasingly important partnership between business and the arts. The BSO is honored to be associated with these companies ana gratefully acknowledges their contributions.

~~These corporations have sponsored concerts and activities of the BSO at Tanglewood during the fiscal year ending August 31,1 999. BSO corporate sponsors of $50,000 or more are listed below.~~

yt£f fc^Fi^W As a longtime sponsor of the Free Lawn Passes for Children program at Tanglewood, TDK has shown its commitment to nurturing an appreciation for art and culture among young people. Last year, TDK proudly extended its relationship with the BSO through an important new musical preservation project. Drawing on TDK's expertise in advanced Kuni Matsui recording media, the will be able to transfer fragile tapes President BSO now TDK Electronics Corporation of historic performances to TDK recordable compact discs so that

NEC has proudly supported the Boston Symphony Orchestra's tours throughout Asia, Europe, and North and South America since 1986. No matter where they perform, the Boston Symphony Orchestra musicians, together with Maestro Ozawa, impress audiences with their brilliant performances, and have captured the

~~Koji Nishigaki hearts of music lovers all over the world. President NEC Corporation~~

Sony Corporation and Sony Classical are proud to sponsor the Boston Symphony Orchestra with whom we share a deep commitment to bringing great music to listeners the world over. We salute Maestro Seiji Ozawa and the members of this historic institution on their brilliant collaboration.

~~Norio Ohga Chairman Sony Corporation Baldwin~~

~~For more than a half century, Baldwin has been the piano of choice for the Boston Symphony Orchestra and Tanglewood. From the concert stage of Sympony Hall to the sheds of Tanglewood, Baldwin~~

~~is proud to contribute to the rich heritage and ongoing tradition of~~

~~the BSO and its many legendary musicians.~~

~~Karen L. Hendricks President, CEO, & Chairman Baldwin Piano & Organ Co. 2000 Tanglewood Association of the Boston Symphony Association of Volunteers~~

~~• Co-Chairs Harry Methven Muriel 1 /azzarini Secretary Phil Cohen Executive Committee~~

~~Richard Berkson • Mel Blieherg • Judith Cook • Ginger Elvin •~~

~~Paul Flaum • Genne LeVasseur • Lorraine Schulze~~

Administrative Committee Administration Events Anne Sheridan • Carol McCann Befriend a Pair ofFellows Wilma Michaels • Susan Orenstein Berkshire Night Rose Foster • Mary Spina Database/New Members Ned Dana • Norma Ruffer Family Concerts Maddy

~~Baer • Marge and Sy Richman Emergency Medical Services Tom Andrew • Scott Rockefeller~~

~~Friends Office Marie Feder -Julie Weiss Functions Office Liz Shreenan • Nancy Woitkowski~~

~~Glass House Leslie Bissaillon Historical Preservation Randy Johnson • Polly Pierce Mem-~~

~~bership Meetings/Badges Ann Dulye • Pat Henneberry Music Education Gabriel Kosakoff • Carole Siegel Newsletter Greta Berkson TMC Opening Ceremonies Bonnie Sexton~~

~~Opening Night Gala Mary Jane and Joe Handler • Margery and Lew Steinberg Orchestra Welcome Back Lunch Ileen Cohen Ready Team Bob Wellspeak Seranak Flowers/Gardens~~

~~Mary Blair • Ursula Ehret-Dichter Student Parties Larry Phillips • Bobbie Rosenberg Sym-~~

~~phony 101 Billie Goldin Zazeela Talks and Walks Roz Goldstein • Joan Soloway Tangle-~~

~~wood On Parade Picnic Rosalie Beal • Arline Breskin • T-Dance Ginger Elvin • Augusta~~

~~Leibowitz Tent Club Keye Hollister • Richard LeVasseur • Tickets Carol Maynard • Karen~~

~~Methven Tour Guides Arline Leven • Sylvia Stein Training Coordinator Bobbi Cohn~~

~~Ushers and Programmers Dave Harding Visitor Center Norma Abrahams • Marcia Jones Volunteers' Fellowship Herb Lieberman Website Boyd Hopkins Youth Activities Andrew~~

~~Garcia • Brian Rabuse~~

~~22 Walker Street • Lenox, MA 01240 • 413 637 9875 BUSINESS FRIENDS OFTANGLEWOOD~~

~~The Boston Symphony Orchestra gratefully acknowledges the following Business Friends for their generous contributions of $500 or more during the 1999-2000 fiscal~~

~~year. An eighth note symbol (J>) denotes support of $1,000-12,499. Names that are capitalized recognize gifts of $2,500 or more.~~

~~Accounting/Tax Preparation Banking Contracting/Building Supplies~~

Adelson 8c Company P.C. BERKSHIRE BANK Cardan Construction, Inc. Pittsfield, MA Pittsfield, MA Pittsfield, MA Feldman, Holtzman 8c Ji First Massachusetts Bank Dettinger Lumber Co., Inc. Bindelglass Pittsfield, MA Pittsfield, MA Pompton Lakes, NJ JiHoosac Bank DRESSER-HULL COMPANY Alan S. Levine, PC, CPA North Adams, MA Lee, MA Plainveiw, NY Lee Bank Harris Rebar Boston, Inc.

Kenneth J. Loveman, CPA Lee, MA Toronto, Canada Pittsfield, MA LEGACY BANKS-CITY AND MAXYMILLIAN j> Riley, Haddad, Lombardi 8c LENOX SAVINGS TECHNOLOGIES, INC. Clairmont Pittsfield, MA Pittsfield, MA Pittsfield, MA Lenox National Bank ^Petricca Industries, Inc. Sax, Macy, Fromm 8c Co., PC. Lenox, MA Pittsfield, MA Clifton, NJ J^The Pittsfield Cooperative Bank PUROFIRST a division of Smith Watson 8c Company, LLP Pittsfield, MA Cardan Construction Great Barrington, MA South Adams Savings Bank Pittsfield, MA J>Umlaufand Dunn CPA Adams, MA S 8c A Supply, Inc. Williamstown, MA Great Barrington, MA Beverage/Food Sales/Consumer Peter D. Whitehead, Builder Advertising/Public Relations Goods/Distribution Great Barrington, MA W.E. Williams Paving, Inc. Ed Bride Associates S> Crescent Creamery West Stockbridge, MA Lenox, MA Pittsfield, MA Stuart H. Trott, Consultant J^Sy Goldstein Brokerage Inc. Education Manhassett Hills, NY West Stockbridge, MA ^Goshen Wine 8c Spirits, Inc. Belvoir Terrace Antiques/Art Galleries Goshen, CT New York, NY High Lawn Farm Berkshire Community College y Coffman's Country Antiques Lee, MA Pittsfield, MA Great Barrington, MA KOPPERS CHOCOLATES Berkshire Country Day School Country Dining Room Antiques New York, NY Lenox, MA Great Barrington, MA NEWMAN'S OWN Massachusetts College of Tracy Goodnow Art 8c Antiques Westport, CT Liberal Arts Sheffield, MA J^The Melissa Sere Selections North Adams, The Havers MA New York, NY Valleyhead, Inc. Upper Montclair, NJ Wohrles, Inc. Lenox, MA Bruce A. Sikora Antiquarian Pittsfield, MA Sheffield, MA Energy/Utilities „J> Stone's Throw Antiques Consulting; Lenox, MA The Berkshire Gas Company Management/Financial Pittsfield, MA Architects .h Colonial Consulting Massachusetts Electric Company Corporation, Inc. Northampton, Alderman 8c MacNeish MA New York, NY j> Ray Murray, Inc. West Springfield, MA «f> Monroe G. Faust Lee, MA Four Architecture Inc. Lenox, MA Pittsfield Generating Company Boston, MA J) Warren H. Hagler Associates, Tax Pittsfield, MA Hill Engineers, Architects, 8c Financial Advisors Sweatland Oil Planners, Inc. New York, NY Pittsfield, MA Dalton, MA INLAND MANAGEMENT VIKING FUEL OIL CO., INC. Automotive CORPORATION West Hartford, CT Williamstown, MA Western Massachusetts Electric J> Norman Baker Auto Sales, Inc. Lam Associates, Ltd. Company Worchester, MA Cambridge, MA West Springfield, MA Biener Nissan-Audi Locklin Management Services Great Neck, NY Longmeadow, MA Engineering Pete's Motor Group .hR.L. Associates Foresight Land Services Pittsfield, MA Princeton, NJ Pittsfield, MA General Systems Company, Inc. Deeh cv Deelv Attorneys The Williamsville Inn

Pittsfield, MA I ,ee, MA West Stockbridge, MA Sheldon Feinstein, PC. Windflower Inn, Inc. Environmental Services Bayside, NY Great Barrington, MA Joel S. Greenberg, PC, /ABAX Incorporated Attorney at Law Manufacturing/Industrial Bayside, NY Pittsfield, MA Nowick Environmental /Broadway Manufacturing Supply Philip F. Heller, Associates Associates Stockbridge, MA Lenox, MA Springfield, MA CRANE 6c COMPANY, INC. Jonas and Welsch Dalton, MA South Orange, NJ I -'ifi.iiifi.il Services /Disbrow Manufacturing Ellen C. Marshall, Esq. East Orange, NJ Sheila H. Caseley, CLU, CHFC West Orange, NJ /French Textiles Lenox, MA /Schragger, Lavine 6c Nagy Wayne, NJ /Kaplan Associates L.P. West Trenton, NJ /Med Source Technologies, Inc. Manhasset, NY /Lester M. Shulklapper, Esq. Pittsfield, MA PaineWebber, Inc. Albany, NY / Schweitzer-Mauduit Pittsfield, MA International, Inc. Rothstein-Lechtman Associates Lodging/Where to Stay Lee, MA Fairfield, NJ APPLE TREE INN 6c SHEFFIELD PLASTICS, INC. /Ernest S. Sagalyn, CLU RESTAURANT A BAYER COMPANY Pittsfield, MA Lenox, MA Sheffield, MA True North Financial Services Applegate Inn SULLIVAN PAPER CO., INC. North Adams, MA Lee, MA West Springfield, MA A Bed 6c Breakfast in the TEXTRON INC. High Technology/Electronics Berkshires Providence, RI CABLEVTSION SYSTEMS Richmond, MA CORPORATION Birchwood Inn Printing/Publishing Bethpage, NY Lenox, MA Laurin Publishing Co., Inc. General Dynamics Defense BLANTYRE Pittsfield, MA Systems Lenox, MA /Lombard Associates, Inc. Pittsfield, MA Brook Farm Inn Dalton, MA /New Yorker Electronics Co., Inc. Lenox, MA THE STUDLEY PRESS, INC. Mamaroneck, NY /CUffwood Inn Dalton, MA Lenox, MA WALDEN PRINTING Insurance Cornell Inn COMPANY Lenox, MA Bader Insurance Agency, Inc. Walden, NY Federal House Inn West Springfield, MA South Lee, MA BERKSHIRE LIFE Real Estate INSURANCE CO. /The Gables Inn Lenox, MA /William Brockman Real Estate Pittsfield, MA The Inn at Richmond Monterey, MA Coakley, Pierpan, Dolan 8c Richmond, MA /Cohen 6c White Associates Collins Insurance Agency /The Inn at Stockbridge Lenox, MA North Adams, MA Stockbridge, MA Copake Realty Robert J. DeValle CLU CHFC Islandia An Idyllic Retreat Copake, NY Springfield, MA Stockbridge, MA Corashire Realty Inc. Minkler Insurance Agency, Inc. One Main Bed 6c Breakfast Great Barrington, MA Stockbridge, MA Stockbridge, MA Evergreen Buyer Brokers of Wheeler 8c Taylor Inc. THE RED LION INN the Berkshires Great Barrington, MA Stockbridge, MA Lenox, MA The Roeder House Bed 6c Peter Piretti Real Estate Legal J. Breakfast Lenox, MA /Frank E. Antonucci, Attorney Stockbridge, MA Roberts 6c Associates Realty, Inc. at Law Rookwood Inn Lenox, MA Lenox, MA Lenox, MA Stone House Properties /Braverman and Associates Super 8 Motel West Stockbridge, MA New York, NY Lenox, MA Dennis G. Welch Real Estate CAIN, HIBBARD, MYERS The Village Inn Lenox, MA 8c COOK Lenox, MA Pittsfield, MA /Walker House Restaurants/Where to Eat /Certilman, Balin, Adler &c Lenox, MA APPLE TREE INN 6c Hyman LLP The Weathervane Inn RESTAURANT East Meadow, NY South Egremont, MA Lenox, MA Cianflone 6c Cianflone, PC. 6c WHEATLEIGH HOTEL Bizen Japanese Restaurant Pittsfield, MA RESTAURANT Great Barrington, MA Michael Considine and J. Lenox, MA BLANTYRE Shawn P. Leary Whistler's Inn Lenox, MA Attorneys at Law Lenox, MA La Bruschetta Ristorante Lenox, MA West Stockbridge, MA Pittsfield, MA Adams Laundry and Dry .hCafe Lucia Mary Stuart Collections Cleaning Company Lenox, MA Lenox, MA Adams, MA Castle Street Cafe Tasha Polizzi Design Collection Alarms of Berkshire County Great Barrington, MA Great Barrington, MA Pittsfield, MA Church Street Cafe J1 Ward's Nursery 8c Garden Center Arnold Katz Photography, Inc. Lenox, MA Great Barrington, MA (Digital) Gateways Inn 6c Restaurant Windy Hill Farm New York, NY Lenox, MA Great Barrington, MA Culligan Water Conditioning, THE RED LION INN R.W. Wise, Goldsmiths, Inc. Inc. Stockbridge, MA Lenox, MA Lenox, MA The Village Inn The Haupt Tree Company, Inc. Lenox, MA Sheffield, MA Science/Medical WHEATLEIGH HOTEL 8c J>ICM Artists, Ltd. RESTAURANT 510 Medical Walk-In New York, NY Lenox, MA Pittsfield, MA Kimball Farms Lifecare Berkshire Eye Center Retirement Community Retail/Where to Shop Pittsfield, MA Lenox, MA j^The Marlebar Group Arcadian Shop Dorella L. Bond, Ph.D. North Miami Beach, FL Lenox, MA Glastonbury, CT Melbourne Place Assisted Living Becket General Store, Inc. J>Lewis R. Dan, M.D. Pittsfield, MA Becket, MA Miami Beach, FL Michele's Salon 8c Day Spa ^Carr Hardware and Supply Co. David M. Grygier, M.D. Great Barrington, MA Inc. Pittsfield, MA Leon Harris, M.D. New England Security Center Pittsfield, MA Pittsfield, MA Bare Necessities New City, NY Santa Holding Company Springfield, MA HEALTHCOMMUNI- J^ COUNTRY CURTAINS TIES.COM Bridgeport, CT ,h Security Self Storage Stockbridge, MA Holyoke, MA Pittsfield, MA Dave's Custom Lighting 8c jTred Hochberg, M.D. Custom Shades Tenafiy, NJ Software/Information Systems Spring Valley, NY J^Long Island Eye Physicians and Gatsbys Surgeons ^Berkshire Information Systems Port Great Barrington, MA Jefferson, NY Inc. .PGuido's Fresh Marketplace ^Plasties Technology Lenox, MA Laboratories, Pittsfield, MA Inc. CATHARON HOUSATONIC Pittsfield, MA PRODUCTIONS, INC. CURTAIN CO. Donald Wm. Putnoi, M.D. Ghent, NY Waltham, Housatonic, MA MA jTilson Communications, Inc. ^Robert K. Rosenthal, K.B. Toys, Inc. M.D. New York, NY Boston, Pittsfield, MA MA Mistral's Provence in the /•Royal Health Care Services Tourism/Resorts New York and Long Island, NY Berkshires CANYON RANCH Great Barrington, MA Dr. Arthur Schon Lenox, MA Monterey General Store Hastings-on-Hudson, NY Jiminy Peak Monterey, MA Hancock, MA Pasko Frame and Gift Center Services Pittsfield, MA J^Paul Rich and Sons Home «P Abbott's Taxi Services Furnishings Lee, MA

~~Contributions as ofJune 1, 2000~~

~~,:"^v'a )~~

~~JULY AT TANGLEWOOD~~

~~Saturday, July 1, at 5:45 Sunday, July 9, at 2:30 "A PR \IRli: HOME COMPANION BOSTON SYMPHONY ORCHESTRA AT TANGLEWOOD" ROBERTO ABBADO, conductor with GARRISON KEILLOR GARRICK OHLSSON, piano~~

BEETHOVEN Piano Concerto No. 5, Sunday, July 2, at 2:30 Emperor BOSTON SYMPHONY CHAMBER DEBUSSY Printemps PLAYERS RESPIGHI Roman Festivals CHRISTOPHER O'RILEY, piano Wednesday, July 12, at 8:30 .\ lusic of BRITTEN, COPLAND, and MOZART BOSTON POPS CONCERT KEITH LOCKHART, conductor

Tuesday, July 4, at 7 American classics, Broadway hits, and light INDEPENDENCE DAY FESTIVITIES orchestral music by favorite composers (Grounds open at 2pm for afternoon entertainment; fireworks follow the concert.) Thursday, July 13, at 8:30 PETER, PAUL &MARY DUBRAVKA TOMSIC, piano Music of BACH, LISZT, and PROKOFIEV Wednesday, July 5, at 8:30 Friday, July 14, at 6 (Prelude) GIL SHAHAM, violin JIAN WANG, cello MALCOLM LOWE, violin PAUL MEYER, clarinet Pianist to be announced GARRICK OHLSSON, piano Music of BEETHOVEN Music of FAURE, COPLAND, and MESSIAEN Friday, July 14, at 8:30 JAMES DePREIST, conductor Friday, July 7, at 6 (Prelude) HORACIO GUTIERREZ, piano

~~MEMBERS OF THE BSO FAURE Suite from Pelleas et Melisande ALL-COPLAND PROGRAM PROKOFIEV Piano Concerto No. 2 BEETHOVEN Symphony No. 7~~

Friday, July 7, at 8:30 BOSTON SYMPHONY ORCHESTRA Saturday, July 15, at 8:30 The Leonard Bernstein Memorial Concert SEIJI OZAWA, conductor TANGLEWOOD MUSIC CENTER YOYO MA, cello ORCHESTRA EDGAR MEYER, double bass ROBERT SPANO, JAMES DePREIST, COPLAND Fanfarefor the Common Man; and SEIJI OZAWA, conductors Quiet City JOHN DEL CARLO (Falstaff HAYDN Cello Concerto in C CHRISTINE GOERKE (Alice Ford) MEYER Double Concerto for cello, double HEIDI GRANT MURPHY (Nannetta) bass, and orchestra MONICA BACELLI (Meg Page) STRAVINSKY Suite from The Firebird BERNADETTE MANCA DI NISSA version) (1919 (Mistress Quickly) GREGORY TURAY (Fenton) Saturday, July 8, at 8:30 ROBERTO SERVILE (Ford; Opening Prayer) BOSTON SYMPHONY ORCHESTRA MICHEL SENECHAL (Dr. Caius) JOHN WILLIAMS, conductor RICHARD CLEMENT (Bardolfo) GIL SHAHAM, violin MARIO LUPERI (Pistola) TANGLEWOOD FESTIVAL CHORUS, WILLIAMS Essay for strings JOHN OLIVER, conductor PROKOFIEV Violin Concerto No. 2 WILLIAMS TreeSong for violin and orchestra BERNSTEIN Opening Prayer (world premiere) ELGAR Enigma Variations TCHAIKOVSKY Francesca da Rimini VERDI Falstaff, Act III Sunday, July 16, at 2:30 Sunday, July 23, at 2:30 BOSTON SYMPHONY ORCHESTRA BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA, conductor SEIJI OZAWA, conductor ITZHAK PERLMAN, violin PETER SERKIN, piano

~~BRAHMS Tragic Overture LIEBERSON Red Garuda, for piano and LUTOSLAWSKI Concerto for Orchestra orchestra BEETHOVEN Violin Concerto TCHAIKOVSKY Symphony No. 5~~

Tuesday,Julyl8,at8:30 Thursday, July 27, at 8:30 BARBARA BONNEY, soprano IDA HAENDEL, violin MARGO GARRETT, piano ITAMAR GOLAN, piano FENWICK SMITH, flute Music of BRAHMS, BACH, CHAUSSON, WILLIAM HUDGINS, clarinet SZYMANOWSKI, and WIENIAWSKI SATO KNUDSEN, cello Songs by ARGENTO, COPLAND, and Friday, July 28, at 6 (Prelude) PREVIN MEMBERS OF THE BSO Music of RAVEL and COPLAND Friday, July 21, at 6 (Prelude)

MEMBERS OF THE BSO Friday, July 28, at 8:30 JON NAKAMATSU, piano BOSTON SYMPHONY ORCHESTRA Music of COPLAND and SCHUMANN JAMES CONLON, conductor EMANUEL AX, piano Fridayjuly21,at8:30 ALL-MOZART PROGRAM BOSTON SYMPHONY ORCHESTRA Symphony No. 25 conductor JEFFREY TATE, Piano Concerto No. 22 in E-flat, K.482 HELENE GRIMAUD, piano Symphony No. 40 WAGNER Siegfried Idyll SCHUMANN Piano Concerto Saturday, July 29, at 8:30 HAYDN Symphony No. 99 BOSTON SYMPHONY ORCHESTRA EMMANUEL VILLAUME, conductor Saturday, July 22, at 8:30 LOUIS LORTIE, piano

BOSTON SYMPHONY ORCHESTRA BERLIOZ Overture to Benvenuto Cellini CONLON, conductor JAMES RAVEL Piano Concerto in G BARBARA BONNEY, soprano FRANCK Symphony in D minor WAGNER Overture to The Flying Dutchman SCHOENBERG Verklarte Nacht Sunday, July 30, at 2:30 MOZART Exsultate, jubilate, for soprano and BOSTON SYMPHONY ORCHESTRA orchestra ILAN VOLKOV, conductor WAGNER Preludes to Acts III and I of DANIEL BARENBOIM, piano Die Meistersinger von Nurnberg ANDERSON The Stations ofthe Sun MENDELSSOHN The Fair Melusine, Overture BRAHMS Piano Concerto No. 1

Friday, July 28, at 2:30 and Saturday, July 29, at 2:30 (Open Dress Rehearsals) Sunday, July 30, at 8 and Monday,July31,at8 TANGLEWOOD MUSIC CENTER VOCAL FELLOWS AND ORCHESTRA SEIJI OZAWA, conductor DAVID KNEUSS, director JOHN MICHAEL DEEGAN and SARAH G. CONLY, design

~~VERDI Falstaff (fuRy staged)~~

~~Programs and artists subject to change. — —~~

~~2000TANGLEWOOD MUSIC CENTER SCHEDULE 60th Anniversary Season~~

~~(All events take place in Seiji Ozawa Hull unless otherwise noted.)~~

~~Sunday, June 25, at 2:30 p.m. Sunday, July 16, at 10 a.m. BACH Cantata Arias TMC Chamber Music~~

Friday, June 30, at 5:30 p.m. Wednesday, July 19, at 8:30 p.m. Opening Exercises (tree admission; Daniel and Shirlee Cohen Freed open to the public) Endowed Concert TMC Orchestra James Conlon conducting Sunday, July 2, at 8:30 p.m. — MAHLER Symphony No. 5 The Phyllis and Lee Coffey Memorial Fund Concert Thursday, July 20, at 8:30 p.m. TMC Orchestra— Seiji Ozawa, James TMC Vocal Chamber Recital DePreist, and Robert Spano conducting BEETHOVEN, COPLAND, ELGAR Sunday, July 23, at 10 a.m. TMC Chamber Music Monday, July 3, at 8:30 p.m. Sunday, July 23, at 6 p.m. Berkshire Night TMC Fellows Family Concert TMC Chamber Concert Seiji Ozawa conducting BACH, COPLAND FESTIVAL OF CONTEMPORARYMUSIC Saturday, July 8, at 2:30 AUGUST 10-14 Family Concert sponsored by Berkshire Bank Made possible by the generous support of TMC Fellows—GANDOLFI Pinocchio's Dr. Raymond and Hannah H. Schneider Adventures in Funland Thursday, August 10, at 7 p.m.* Sunday, July 9, at 10 a.m. THE FROMM CONCERTAT TMC Chamber Music TANGLEWOOD Members of the BSO plus guests Sunday, July 9, at 8:30 p.m. TMC Chamber Music BERIO Fourteen Sequenzas (celebrating the composer's 75th birthday) Monday, July 10, at 1:30 p.m. Friday, August 11, at 2:30 p.m. (Chamber (Chamber Music Hall) Music Hall; Prelude Concert at 1 p.m.) TMC Chamber Music TMC Fellows; Stefan Asbury, Ilan Volkov, Monday, July 10, at 5 p.m. and 8 p.m. and George Benjamin conducting Tuesday, July 11, at 5 p.m. and 8 p.m. Music of Fedele, Ford, Carter, Dallapiccola, TMC Fellows—String Quartet Marathon and Grisey

Saturday, July 15, at 8:30 (Shed)* Saturday, August 12, at 2:30 p.m. Leonard Bernstein Memorial Concert (Prelude Concert at 1 p.m.) To benefit the Tanglewood Music Center TMC Fellows Vocal Chamber Music TMC Orchestra—Robert Spano, James Concert—Music of Knussen, Dusapin, DePreist, and Seiji Ozawa conducting Babbitt, Crawford Seeger, Jolas, Rihm, BERNSTEIN, ELGAR, VERDI Druckman, and Schuller

~~Sunday, August 13, at 10 a.m. TMC Fellows; Stefan Asbury conducting Music of Perle, Schneller, Babbitt, Benjamin, and Murail~~

~~Sunday, August 13, at 8:30 p.m. The Margaret Lee Crofts Endowed Concert TMC 60th Anniversary Alumni Concert George Benjamin conducting BOULEZ Sur Incises~~

Monday, August 14, at 8:30 p.m. (Prelude Concert at 6 p.m.) TMC Orchestra; Stefan Asbury and George Benjamin conducting—Music of Feldman, Benjamin, Copland, and Carter Friday, July 28, at 2:30* and Gala concert at 8:30 p.m. (Shed) Saturday, July 29, at 2:30* TMC ORCHESTRA, BOSTON (Open Dress Rehearsals) SYMPHONY ORCHESTRA, and Sunday,July30,at8* BOSTON POPS ORCHESTRA Monday, July 31, at 8* (all Theatre) SEIJI OZAWA, KEITH LOCKHART, and Celebrating the TMC's 60th Anniversary JOHN WILLIAMS conducting TMC VOCAL FELLOWS AND ORCHESTRA Sunday, August 6, at 10 a.m. TMC Chamber Music SEIJI OZAWA conducting Friday, August 18, at 2:30 (Theatre) DAVID KNEUSS, director; TMC Chamber Music JOHN MICHAEL DEEGAN and SARAH G. CONLY, design Sunday, August 20, at 10 a.m. VERDI FalstaffiMfy staged) TMC Chamber Music

Tuesday, August 1, at 8:30* Sunday, August 20, at 8:30 p.m. TANGLEWOOD ON PARADE (Prelude Concert at 7 p.m.) To benefit the Tanglewood Music Center TMC Orchestra—Robert Spano conducting Afternoon events begin at 2 p.m. Music of COPLAND

Except for concerts requiring a Tanglewood box office ticket (indicated by an asterisk*), tickets for TMC events are only available one hour before concert time. Admission is $10 for TMC Orchestra concerts, $6 for other TMC concerts and recitals in Ozawa Hall. Friends of Tanglewood at the $100 level or higher will receive free admission upon request to TMC Ozawa Hall concerts with their membership cards. Further information about TMC events, including additional concerts, is available at the Tanglewood Main Gate or by calling (413) 637-5230.

~~2000 BOSTON UNIVERSITY TANGLEWOOD INSTITUTE Concert Schedule~~

~~(All events take place in Seiji Ozawa Hall unless otherwise noted)~~

~~Thursday, July 13, at 2:30 p.m. Thursday, July 27, at 3 p.m. (Chamber Music Hall) BUTI Young Artists Wind Ensemble, BUTI Chamber Music Frank Battisti conducting~~

Saturday, July 15, at 2:30 p.m. Saturday, July 29, at 2:30 p.m. BUTI Young Artists Orchestra, Lan Shui BUTI Young Artists Orchestra, David Hoose , conducting—GRIEG, CHEN YI, conducting—BEETHOVEN, BERNSTEIN, TCHAIKOVSKY SIBELIUS

Sunday, July 16, at 6 p.m. Sunday, July 30, at 6 p.m. BUTI Young Artists Wind Ensemble, BUTI Vocal Program, Ann Howard Jones Frank Battisti conducting conducting—BACH, FAURE, FUSSELL, VERDI, COPLAND Tuesday, July 18, at 6 p.m. Wednesday, July 19, at 6 p.m. Saturday, August 12, at 2:30 p.m. Thursday, July 20, at 6 p.m. (Theatre) Monday, July 24, at 6 p.m. BUTI Young Artists Orchestra, Julian Wachner (all in Chamber Music Hall) conducting—SCHOENBERG, HOLST BUTI Chamber Music

~~Tickets available one hour before concert time. Admission is $10 for BUTI Orchestra concerts, free to all other BUTI concerts. For more information about BUTI concerts, call (413) 637-1430.~~

~~I EDUCATIONAL DIRECTORY~~

~~The Williston Northampton itje of Liberal Arts NORTH ADAMS, MASSACHUSETTS School~~

~~Expanding Minds.~~

~~^Growing Opportunities. Educating for Independence since 1841~~

~~19 Payson Avenue,~~

~~375 Church Street Eastkamptoi, MA 01027~~

~~North Adams, MA 01 247 413/529-3241 • www.willistoi.com~~

~~800-292-6632 www.mcla.mass.edu Boardhg, grades 9-12/PG~~

~~BERKSHIRE COUNTRY DAY SCHOOL~~

~~AaaA~~

~~Berkshire pre-school through Community College high school "° VE^~~

~~Pittsfield & Great Barrington Lenox, Massachusetts 413-637-0755 413-499-4660 www.berkshirecountryday.org Admissions: Ext. 242 Lifelong Learning: Ext. 374 www.cc.berkshire.org EDUCATIONAL DIRECTORY~~

A leader in girls' education... WESTOVER SCHOOL The Middlebury, C T Located halfway between Boston and New York, Putney School Westover is an academically rigorous school dedicated to challenging and encouraging young women in all aspects of academic, community, r"<. and athletic life.

~~• Joint Math/Science program with Rensselaer W Polytechnic Institute •Joint program with the Manhattan StfflLM—. ~ *J School of Music •Advanced Placement in 17 subjects~~

Where academics, the arts, and the •Girls' boarding are equally valued & day, individual grades 9-12 Co-ed, Grades 9-12 & PG •Outstanding performing Boarding & Day, Summer Programs & visual arts I For more informationJ International & ESL Programs m contact: • •Students College-preparatory curriculum, * representing The Office of Admission on a 500-acre working farm 15 countries Westover School and 24 states

P.O. Box 847 •Competitive sports 802/387-6219 • [email protected] Middlebury, CT 06762 including dance, an www. utney. com \ outdoor program, p W&t tel: (203) 758-2423 and 8 varsity sports Elm Lea Farm, Putney, VT 05346 foe (203) 577-4588 e-mail: [email protected]

~~Evening at Pops~~

~~Sundays at 8pm WGBYf) Cultural Happenings In The Berkshires, America's Premier Cultural Resort Brought to you by the Berkshire Cultural Alliance~~

~~June 18 through July 29, 2000~~

~~Albany Berkshire Ballet Berkshire Community College Pittsfield, (413) 445-5382 Pittsfield & Great Barrington www.berkshireballet.org. Albany Berkshire 413-499-4660 ext 374 www.cc.berkshire.org~~

~~Ballet's "Rockwell Suites" 7/24 - 8/12. Call Lifelong learning opportunities-Elderhostel, (413)445-5382. non-credit offerings for the entire community.~~

~~Arrowhead, Home of Herman Melville Berkshire Lyric Theater~~

Pittsfield, (413) 442-1793 Pittsfield, Lenox, Great Barrington www.mobydick.org. (413) 499-0258 Exhibit: A Mighty Theme: Rockwell Kent and Performing classical oratorio works from Barry Moser Interpret Moby Dick. June 25- Sept-June, 60 voices. October 29. Berkshire Museum Aston Magna Festival Pittsfield, (413) 443-7171 Great Barrington, (413) 528-3595; www.berkshiremuseum.org. (800) 875-7156 www.astonmagna.org Springs Sprockets & Pulleys: The Mechanical Baroque & classical music on period Sculptures of Steve Gerberich. July 7-Oct 22 instruments. 7/8, 15, 22, 29 at 6 pm. Berkshire Opera Company

~~Barrington Stage Company Pittsfield, (413) 443-7400~~

~~Sheffield, (413) 528-8888 www.berkop.org. www.barringtonstageco.org Bellini's I Capuleti E I Montecchi: 7/1, 7/6 and~~

~~Stage I: Company 6/21-7/16, 7/8 at 8 pm, and 7/3 and 7/10 at 2 pm. Full Bloom 7/19-8/5 and Berkshire Theatre Festival Stage II: Suburbia 7/3-7/16. Stockbridge, (413) 298-5576~~

~~Becket Art Center of the Hilltowns www.berkshiretheatre . org.~~

~~Becket, (413) 623-6635 www.berkshires.org Camelot 6/21-7/8, Toys In the Attic 7/11-22,~~

Concert Sundays 3 pm. 7/9 Jazz guitar duo, The Shadow of Greatness 7/25-8/12. 7/23 piano duo & soprano, Gurt Fam in perf. Contemporary Artists Center & Gallery Berkshire Artisans/ North Adams, (413) 663-9555 www.thecac.org Lichtenstein Center for the Arts Exhibitions, lectures, "Dowtown Installations,"

~~Pittsfield, (413) 499-9348 artists' residencies, Wed-Sun. Free.~~

~~Barbieo Gizzi Collages June 6 to July 8. Dark Ride Project-Art Exhibition Berkshire Botanical Garden North Adams, (413) 663-6662~~

Stockbridge, (413) 298-3926 www.darkrideproject.org. www.berkshirebotanical.org. Open daily 10-5. Ride in the "Sensory Integrator" through Outdoor sculpture exhibit through 9/17. creative space! Wed-Sun, 12-5 pm. Antiques show 7/15-16. Downtown Pittsfield, Inc. Berkshire Choral Festival Pittsfield, (413) 443-6501

~~Sheffield, (413) 229-1800 www.choralfest.org. www.downtownpittsfield.com.~~

~~Choral Masterpieces-225 voices, soloists, Artwalk Festival, Saturday July 1,~~

Springfield Symphony. 7/10, 17, 24, at 8 pm. 10 am-5 pm. Music, food & more! Downtown Pittsfield. Frelinghuysen Morris House & Studio The Norman Rockwell Museum at Stockbridge Lenox, (413) 637-0166 www.frelinghuysen.org Stockbridge, (413) 298-4100 ext. 220 Bordering Tanglewood-Guided house tours www.nrm.org. 6/24-10/29

~~of modern artists' estate. View new docu- Distant Shores-The Odyssey of Rockwell Kent. mentary. More than 80 original works.~~

~~Hancock Shaker Village Pleasant Valley WildLife Sanctuary~~

~~Pittsfield, (413) 443-0188 Lenox, (413) 637-0320 www.massaudubon.org. www.hancockshakervillage.org. 7 miles of scenic hiking trails on 1500 acres.~~

~~20 historic buildings, farm, craft artisans Grounds open daily sunrise to sunset. Seen Received: The Shakers' Private Art. & Santarella Museum and Gardens Images Cinema Tyringham, (413) 243-3260~~

Williamstown, (413) 458-5612 Artists in residence: 7/1-7/29 Seija Floderus; www.imagescinema.org. Breakfast Club: A 7/1-7/14 Sharon McCartney. Sunday brunch & film discussion series 6/11 Shakespeare & Company 11:15 brunch, film at 12:00. am Lenox, (413) 637-3353 www.shakespeare.org.

~~Interlaken School of Art "The best Shakespeare you can find year in,~~

~~Stockbridge, (413) 298-5252 year ovX."-Boston Globe. 12 plays in-/outdoors.~~

~~Artists Along the Housatonic, Opening: 7/7, StageWorks at North Pointe Collector's 6 pm. Preview-6/29, $20, 5 pm. Kinderhook, NY, (518) 822-9667~~

~~Jacob's Pillow Dance Festival www.mhonline.net/~stagewrk~~

~~Becket, (413) 243-0745 www.jacobspillow.org. Save the Date! PuppetMaster of Lodz 9/27- World-Celebrated Dance Festival-modern, 10/8, WIT 11/1-11/19. Reservations only.~~

~~ballet, jazz & ethnic dance. June 21-August 27. Sterling & Francine Clark Art Institute Mac-Haydn Theatre Williamstown, (413) 458-2303~~

Chatham, NY, (518) 392-9292 www.clark.williams.edu. Exhibition: "Noble Grease 6/22-25, 28-7/2, Singing In The Rain Dreams, Wicked Pleasures: Orientalism in America, 1870-1930" to 9/4. 7/6-9,12-16,19-23, Man of La Mancha 7/27-30, 8/2-6. The Theater Barn MASS MoCA New Lebanon, NY (518) 794-8989 www.theaterbarn.com. North Adams, (413) 662-2111 The Theater Barn- "Professional Theater" www.massmoca.org. Dance parties, moonlit Summer Route 20, Lebanon, movies, and Bang on a Can's new opera New NY. Carbon Copy Building, 8/4-5. Williamstown Chamber Concerts Williamstown, 458-8273 The Miniature Theatre of Chester (413) Chamber music at the Clark Art Institute. Chester, MA, (413) 354-7771 www.miniaturetheatre.org. August 1, 8, 15, 22 at 8 pm.

7/5-7/16 Sixteen Words for Water by William Williams College Museum of Art Stoneking. 7/19-7/30 The Double Bass by Pat Williamstown, (413) 597-3178 Rick Suskind. www.williams.edu/WCMA/ Reception and Gallery Talks by Artists The Mount, Edith Wharton Restoration John Recco & William Schade, 7/22 3:30-5:30. Free. Lenox, (413) 637-1899 www.edithwharton.org Williamstown Theatre Festival

~~Edith Wharton's Home reflects her design Wilhamstown, (413) 597-3399 principles. Open 9-3 daily for construction www.WTFestival.org. The Hot L Baltimore tours. 7/5-7/16;HeddaGabler 7/19-7/30.~~

~~Contact the Berkshire Visitors Bureau for Lodging Reservations - 800-237-5747.~~

~~Space for these pages provided by The Studley Press, Inc. Favorite Restaurants of the Berkshires~~

~~ifftd shirt to serve an decant dinner"~~

~~HONEST TRADI'l IONAU Y STYI H) FOOD CONTLMPORARY CUISINE & CUSTOM (A TIRING~~

Krsrmlinoi ApprrciitnJ 413-298-4711 Main St Housatonic (413)274-1000 " Just Minutes ciahter "Cabern Menu too A footloose subsidiary of The Red Lion inn South of j Tanglewood « vmwi! Wink, Bui r. Cocktails www.jacksgrill.com On Routt; 183 in Stockbridcf. VUMoorv ..ii am VrbulcWrbutcil11 www.Ggrillc.comWWW.ljgriUt'.Com . ^o > »

~~Lunch - Dinner - Sunday Brunch Cafe Menu - Lite Fare I Open 7 Days RESTAURANT 637-4218 218 MAIN STREET~~

~~Northern Italian and American Cuisine~~

~~THE APPLE TREE INN AND RESTAURAIW~~

~~'Across the road from Tanglewood" If you would like to be~~

~~(413) 637-1477 part of this restaurant page,~~

~~Dinner nightly 5:00-9:30 during please call (617) 542-6913. July & August. Sunday Brunch~~

~~.Main Stoeet Cafe~~

~~Cosmopolitan Dining in a Country Setting New Executive Chef CIA 1996 Worldly Cuisine Patio Dining, Garden Views, Excellent Service, Fine Wines~~

Lunch Daily 11:30-2:30 Dinner Daily 5-10 p.m. voted Best Overall Restaurant 7 years Late Night Bistro Dining Steaks Maine Lobster Prime Rib Thursday-Saturday 10-12 Midnight Fresh Seafood Extensive Salad Bar Dakota Sunday Brunch Best in the Berkshires Reservations suggested Reservations Phone Ahead Seating 413-458-3210 413-499-7900 Pittsfield/Lenox Line

. rant . 16 Water Street • Williamstown, MA 01267 www DakotaRestau com Dine In An Authentic 1771 Inn just a mile Tangleivood 'Enjoy Authentic Italian from Breakfast • English Tea • Dinner food in the *Ber%sfiires SERVING DINNER DAILY 4PM~^ ^^ 16 Church St. 637-0020 ^L

~~3 fe WVeaders of all ages will cherish the engaging story behind bsc Haydn's Symphony No. 45. barrington stage company~~

~~Artistic Director Julianne Boyd~~

~~COMPANY June 21-July 16 The V^ Book by George Furth A Farewell~~

~~Sponsored by BeRKSHK&BaNK~~

~~Premiere! JoAnn E. Kitche! r(JLLFULL BLOOMDLUUIfl Jul/Julyl9-Au£usi5 By D Suzanne Bradheer~~

NO WAY TO TREAT A LADY @ August 9-August 27 Includes a CD of the "Farewell" Symphony, (and Symphony No. 31 ) performed by the orchestra of St. Luke's and Book, Music Lyrics and by D Douglas J. Cohen conducted bv Sir Charles MacKerras. S19.95 y Mi July 10 n UVEMl BACON BROTHERS e

BSC BOX OFFICE: 413.528.88S8 Available where books are sold. Or call (800) 225-3214 and mention D All Performances at the this ad to receive a 20% discount. Consolati Performing Arts Center, Sheffield, MA Visit www.charlesbridge.com. D Theatre is air-conditioned and wheelchair accessible. Assisted hearing devices available. "§j IS* Charlesbridge, 85 Main St. Watertown. MA 02472r <&*W*<4

~~Museum & Gardens Studio ofSir Henry Hudson .arrie Mae Weems: Kitson, sculptor ofthe Lexington The Hampton Project 'Mxxiutemcail through October Museum, Sculpture Garden, Art Galleries~~

Visit our Artists Main Street, Williamstown 413.597.2429 in Residence this season! Tue-Sat 10-5, Sun 1-5 Open Daily 10-5, May-Oct Admission Admission is free www.williams.edu/WCMA 75 Main Rd, Tyringham, MA (413) 243-3260

~~THE INTERIOR'~~

~~Fabric and Bedding Outlet Tremendous Savings Off Suggested Retail Every Day!~~

~~Featuring WAVERLY and other DESIGNER BRANDS~~

~~We feature discontinued and seconds~~

~~fabric at tremendous savings!~~

~~Decorative Prints, Sheers, Velvets, Damasks & Tapestries, Bedding Ensembles, Pillows, Trims & Accessories~~

~~(413) 743-1986~~

~~5 Hoosac St., Adams, MA Hours: Mon.-Sat. 10-5~~

From Williamstown follow Route 2 East into North Adams; take Route 8 South into Adams; take a left onto Hoosac Street. Store is located in a historic brick warehouse on the right. TANGLEWOOD MUSIC CENTER ENDOWMENT CONTRIBUTORS

Tanglewood Music Center Fellows pay no tuition and are offered free room and board. Their residency at Tanglewood is underwritten largely through annual and endowed Fellowships. The TMC faculty includes many of the world's finest musical artists, some of them teaching through the generosity of donors who have endowed Artists Positions. The Tanglewood Music Center gratefully acknowledges the endowment support of the contributors represented below.

Endowed Artists Positions Paul Jacobs Memorial Fellowship Berkshire Chair Fund Lola and Edwin Jaffe Fellowship Dr. and Mrs. Edward L. Bowles Billy Joel Keyboard Fellowship Master Teacher Chair Fund Susan Kaplan and Ami Trauber Fellowship Richard Burgin Chair Stephen and Nan Kay Fellowship Charles E. Culpeper Foundation Chair Mr. and Mrs. Allen Z. Kluchman Memorial Fellowship Vic Firth Master Teacher Chair Dr. John H. Knowles Memorial Fellowship Barbara LaMont Master Teacher Chair Fund Donald Law Fellowship Renee Longy Chair, a gift ofJane and John Goodwin Barbara Lee/Raymond E. Lee Foundation Fellowship Marian Douglas Martin Master Teacher Chair, Bill and Barbara Leith Fellowship endowed by Marilyn Brachman Hoffman Stephanie Morris Marryott and

~~for Keyboard Faculty Franklin J. Marryott Fellowship~~

~~Beatrice Sterling Procter Master Teacher Chair Fund Anna Sternberg-Clara J. Marum Fellowship Sana H. Sabbagh and HasitrJ. Sabbagh Merrill Lynch Fellowship~~

~~Master Teacher Chair Ruth S. Morse Fellowship~~

Surdna Foundation Master Teacher Fund Albert L. and Elizabeth P. Nickerson Fellowship Stephen and Dorothy Weber Artist-in-Residence Northern California Fund Fellowship Northern California Audition Fellowship Endowed Guarantor Fellowships Seiji Ozawa Fellowship Baldwin Piano and Organ Company Fellowship Daphne Brooks Prout Fellowship Jane W. Bancroft Fellowship Claire and Millard Pryor Fellowship BayBank/BankBoston Fellowship The Rapaporte Foundation Fellowship Leonard Bernstein Fellowships DeWitt Wallace-Reader's Digest Fund Fellowship Edward S. Brackett, Fellowship Jr. Harry and Mildred Remis Fellowship Frederic and Juliette Brandi Fellowship Peggy Rockefeller Memorial Fellowship Rosamond Sturgis Brooks Memorial Fellowship Carolyn and George Rowland Fellowship in Honor BSAV/Carrie L. Peace Fellowship Fund of Eleanor Panasevich Stanley Chappie Fellowship Wilhelmina C. Sandwen Memorial Fellowships Alfred E. Chase Fellowship Fund Morris A. Schapiro Fellowship Clowes Fund Fellowship The Starr Foundation Fellowship Harold G. Colt, Memorial Fellowship Jr., Miriam and Sidney Stoneman Fellowships Andre Come Memorial Fellowship Surdna Foundation Fellowship Caroline Grosvenor Congdon Fellowship Memorial Tanglewood Ushers/Programmers Endowed Aaron Copland Fund for Music Fellowship Instrumental Fellowship Margaret Lee Crofts Fellowship James V. Taylor and Caroline Smedvig Fellowship Charles E. Culpeper Foundation Fellowship William F. and Juliana W. Thompson Fellowship Darling Family Fellowship TMC General Scholarship Fund Carlo Omar Del Tanglewood Fellowships Max Winder Violin Memorial Fellowship Otto Eckstein Family Fellowship Jerome Zipkin Fellowship Friends of Armenian Culture Society Fellowship Anonymous (2) Judy Gardiner Fellowship Athena and James Garivaltis Fellowship Endowed Sustaining Fellowships

Armando A. Ghitalla Fellowship Mr. and Mrs. David B. Arnold, Jr. Fellowship Fernand Gillet Memorial Fellowship Kathleen Hall Banks Fellowship Marie Gillet Fellowship Leo L. Beranek Fellowship Florence Gould Foundation Fellowships Felicia Montealegre Bernstein Fellowship - Brookline Youth Concerts Awards Committee Greve Foundation John J. Tommaney Fellowship Luke B. Hancock Foundation Fellowship Fellowship William Randolph Hearst Foundation Fellowship Helene R. and Norman L. Cahners Fellowship C.D.Jackson Fellowship Marion Callanan Memorial Fellowship

~~Continues on next page~~

m 'Jl* Nat Cole Memorial Fellowship David Frederick Collier and Harrv and Marion Dubbs Fellowship Thomas Daniel Collier Fellowships Arthur Fiedler/Leo Wasserman Fellowship Margaret Lee Crofts Concert Fund Daniel and Shirlee Cohen Freed Fellowship Margaret Lee Crofts TMC Fund Dr. Marshall N. Fulton Memorial Fellowship Eleanor Naylor Dana Visiting Artists Fund

Juliet Esselborn Geier Memorial Fellowship Alice Willard Dorr Foundation Fellowship Gerald Gelbloom Memorial Fellowship Carlotta M. Dreyfus Fund Haskell R. Gordon Memorial Fellowship Selly A. Eisemann Memorial Fellowship John and Susanne Grandin Fellowship Elvin Tanglewood Fund Barbara and Arthur Kravitz Fellowship Elise V. and Monroe B. England Bernice and Lizbeth Krupp Fellowship Tanglewood Music Center Fund Philip and Bernice Krupp Fellowship Honorable and Mrs. John H. Fitzpatrick Fund Edward and Joyce Linde Fellowship Ann and Gordon Getty Fund Edwin and Elaine London Family Fellowship Grace Cornell Graff Fellowship Fund Lucy Lowell (1860 - 1949) Fellowship for Composers at the TMC Heifetz Fund Robert G. McClellan, Jr., and IBM Matching Grants Fellowship Mickey L. Hooten Memorial Prize Fund Morningstar Family Fellowship Virginia Howard and Richard A. Ehrlich Fund Stephen and Persis Morris Fellowship Grace Jackson Entertainment Fund Theodore Edson Parker Foundation Fellowship Grace B.Jackson Prize Fund David R. and Muriel K. Pokross Fellowship Paul Jacobs Memorial Commissions Fund Lia and William Poorvu Fellowship Japanese Fellowship Fund Hannah and Raymond Schneider Fellowship Jason Starr Scholarship Pearl and Alvin Schottenfeld Fellowship Fund Louis Krasner Fund for Inspirational Teaching and Tappan Dixey Brooks Fellowship Performance established by Marilyn Brachman Hoffman Augustus Thorndike Fellowship William Kroll Memorial Fund R. Amor}' Thorndike Fellowship Dorothy Lewis Fund Sherman Walt Memorial Fellowship Samuel Mayes Memorial Award Fund Estate of Edith S. Murray Endowed Seminar Scholarships Herbert Prashker Fund Maurice Abravanel Scholarship Mr. and Mrs. Ernest H. Rebentisch Fund Ethel Barber Eno Scholarship Jules C. Reiner Violin Prize Fund

Eugene Cook Scholarship Jane and Peter van S. Rice Fund Dorothy and Montgomery Crane Scholarship Elaine and Harvey Rothenberg Fund William E. Crofut Family Scholarship Helena Rubenstein Fund F. Richard Gold Memorial Scholarship The Lenore S. and Alan Sagner Fund Leah Jansizian Memorial Scholarship Renee D. Sanft Fund for the Tanglewood Music Center Miriam Ann Kenner Memorial Scholarship Hannah and Raymond Schneider Endowed Concert Andrall and Joanne Pearson Scholarship Ruth Shapiro Scholarship Fund Maurice Schwartz Scholarship Fund by Marion Dubbs Dorothy Troupin Shimler Fund Mary H. Smith Scholarship Asher J. Snuffer Fellowship Cynthia L. Spark Scholarship Evian Simcovitz Fund Evelyn and Phil Spitalny Scholarship Albert Spaulding Fellowship Tanglewood Ushers/Programmers Endowed Vocal Tanglewood Music Center Composition Program Fund Fellowship Tanglewood Music Center Opera Commission Fund Tisch Foundation Scholarship Tanglewood Music Center Opera Fund Denis and Diana Osgood Tottenham Fund Endowed Funds Supporting the Teaching and Helen F. Whitaker Fund Performance Programs John Williams Fund Eunice Alberts and Adelle Alberts Vocal Scholarship Fund Karl Zeise Memorial Cello Prize Fund Estate of Gwendolyn C. Barbour Anonymous (1) Harriet and Bernard Bernstein Memorial Fund The George and Roberta Berry Supporting Organization Fund for Tanglewood Peter A. Berton Fund Donald C. Bowersock Tanglewood Fund Tanglew®d Gino B. Cioffi Memorial Prize Fund Music Phyllis and Lee Coffey Memorial Fund Concert Daniel and Shirlee Cohen Freed Endowed Concert Center r>' : " Kww&mh^ i m Wlwti&m mm b s o 2

~~BSO 2000, launched in the fall of 1995 and concluding August 31, 2000, is a campaign to raise $130 million for the Boston Symphony Orchestra, the worlds largest symphonic~~

organization. The campaign's objective is to carry the BSO's long-established role as a musical leader and educator into the future and to secure its multifaceted mission ofperformance, outreach and education, and ofproviding unequaled concert space. Endowment Of the $130-million goal, $85 million is earmarked to build and strengthen the BSO's endowment and to preserve its excep- and Capital tional facilities. The Boston Symphony Orchestra gratefully acknowledges these Contributors donorsfor their support. Gifts during the course of the Campaign, through May 31, 2000.

~~$10,000,000 and above~~

~~Mr. and Mrs. Julian Cohen Mr. and Mrs. Ray Stata~~

~~$2,500,000 to $4,999,999~~

~~Germeshausen Foundation~~

~~$1,000,000 to $2,499,999~~

~~Anonymous (5) Alan J. and Suzanne W. Dworsky~~

~~Mr. and Mrs. J. P. Barger Mr. and Mrs. John H. Fitzpatrick George and Roberta Berry Estate of Edith C. Howie~~

~~Mr. and Mrs. Peter A. Brooke Mr. and Mrs. William J. Poorvu Mr. John F. Cogan and Mr. and Mrs. Thomas G. Sternberg 1~~

~~Ms. Mary L. Cornille The Helen F. Whitaker Fund Mrs. Stanton W. Davis Mr. and Mrs. John Williams~~

~~$500,000 to $999,999~~

~~Anonymous (4) Mr. and Mrs. Lewis S. Dabney Mr. and Mrs. Harlan E. Anderson Mr. Joseph Hearne and~~

Mr. and Mrs. David B. Arnold, Jr.* Ms. Jan Brett Estate of Norman V. and Mr. and Mrs. Harvey Chet Ellen B. Ballou Krentzman*

Catherine and Paul Buttenwieser Mr. and Mrs. R. Willis Leith, Jr.* Helene Cahners-Kaplan and Mr. and Mrs. Edward H. Linde Carol R. Goldberg Nancy Lurie Marks Foundation Dr. and Mrs. James, C. Collias* The Morse Foundation Mr. and Mrs. William H. Congleton NEC Corporation Continued on next page $500,000 to $999,999

~~Mrs. Robert B. Newman U.S. Department of Housing and~~

~~Sciji ^nd Vera Ozawa Urban Development Kristin and Roger Servison Stephen and Dorothy Weber~~

~~Mr. and Mrs. Carl J. Shapiro Mr. and Mrs. Stephen R. Weiner Mr. and Mrs. Denis F.G. Tottenham Estate of G. Crandon Woolley~~

~~$250,000 to $499,999~~

Anonymous (2) Estate of Marcia H. Kalus Thomas A. Pappas Charitable Gabriella and Leo Beranck Mr. and Mrs. George H. Foundation Estate of Virginia Kidder Estate of Violet Pashalian Wellington Cabot Mr. and Mrs. Gordon F. Mr. and Mrs. Robert E. Estate of Harold G. Colt Kingsley Remis* Connell Limited Partnership Dr. and Mrs. Arthur R. Mr. and Mrs. Jerome Mr. and Mrs. Eugene B. Kravitz Rosenfeld

Doggett Estate of Franklin J. Marryott Carole and Edward I. Dr. and Mrs. Arthur Gelb Mrs. August R. Meyer Rudman* Susan Morse Hilles Mr. and Mrs. Nathan R. Richard and Susan Smith John Hitchcock* Miller Family Foundation Estate of Russell B. Stearns Estate of Arlene M. Jones Megan and Robert O'Block

~~$100,000 to $249,999~~

~~Anonymous (2) Mr. and Mrs. Bigelow Mr. and Mrs. Francis W. Ms. Eunice Alberts* Crocker, Jr. Hatch~~

Mr. and Mrs. Vernon R. Mr. and Mrs. John J. Dr. and Mrs. George Alden Cullinane Hatsopoulos Prof, and Mrs. Rae D. Deborah B. Davis William Randolph Hearst Anderson* Dr. and Mrs. Charles C. Foundation Mrs. Caroline Dwight Bain Dickinson III Bayard and Julie Henry Estate of Gwendolyn C. Mrs. Marion Dubbs Estate of Edith Heymans Barbour Mr. and Mrs. William R. Estate of Martin Hoherman Richard and Sally Bartiey Elfers Mr. and Mrs. F. Donald George and Margo Behrakis Estate of Anna E. Finnerty Hudson*

Theodore and Evelyn Estate of Erna V. Fisher Mr. Charles H. Jenkins, Jr. Berenson Charitable Miss Elaine Foster Steven E. Karol Foundation Mr. and Mrs. Daniel Freed Stephen B. Kay and Mr. William I. Bernell* Mr. and Mrs. Dean W. Freed Nan Bennett Kay Lynda Schubert Bodman Friends of Armenian Dr. and Mrs. David Kosowsky Boston Symphony Culture Society Don Law Companies Association of Volunteers Mr. and Mrs. James G. Ms. Barbara Lee Estate of Bartol Brinkler Garivaltis* Thomas H. Lee and Estate of Ruth Seamon Brush Estate of Rosamond Gifford Ann Tenenbaum Ms. Renee Burrows Gordon Fund Mr. and Mrs. John A. Cabot Family Charitable Mr. and Mrs. Clark H. MacLeod II

Trust Gowen Estate of Clara J. Marum Mr. and Mrs. James F. Cleary The Grainger Foundation Joseph C. and Beth McNay Phyllis and Lee Coffey Fund Estate of Marion A. Green Mr. and Mrs. Albert W. Merck Ms. Alice Confortes Mr. and Mrs. Daniel S. Mr. and Mrs. Paul M. Mr. and Mrs. John M. Gregory Montrone

~~Connors, Jr. Margaret L. Hargrove~~

* Includes a deferred gift $100,000 to $249,999

John Moriarty & Associates Mr. Daniel Rothenberg Leo Wasserman Foundation Carol and John Moriarty Estate of Wilhelmina C. Muriel and David Pokross, Gloria and William Snyder Sandwen Trustees Susan and David Leathers Dr. Raymond and Hannah H. Joan and Ronald Curhan Sharon and Steven Weber Schneider* Henry and Joan T. Wheeler Annette and Vincent O'Reilly Dorothy Shimler Charitable Fund Mr. and Mrs. Daniel Pierce Hinda L. Shuman Estate of Nancy P. Williams Mrs. Gloria Moody Press Estate of Sylvia Spiller Drs. Richard and Judith Wurtman Mr. and Mrs. Millard Pryor The Starr Foundation Dr. and Mrs. Nicholas T. Mr. and Mrs. Irving W Rabb Mr. William P. Stewart Zervas Mr. and Mrs. Peter Read Mr. and Mrs. William F. Estate of Margaret T. Thompson Estate of Jerome R Zipkin Rebentisch Mr. and Mrs. John L. Thorndike

~~$50,000 to $99,999~~

Anonymous (6) Mr. and Mrs. Edwin A. Jaffe Anne Lovett and Stephen Mr. and Mrs. Craig Burr Mr. and Mrs. Robert Jaffe Woodsum Don and Donna Comstock Mr. Charles H. Jenkins, Sr. Estate of Morton Margolis Mr. Johns H. Congdon Mr. William M. Joel Carol and Thomas McCann Bob and Lynn Daly Mr. and Mrs. Bela T. Kalman Mr. Richard Menaul* Mr. and Mrs. Miguel de Mr. and Mrs. William M. The Morningstar Family Braganca Karlyn Foundation Mrs. Otto Eckstein Estate of Mary Jane Kelley Mrs. Elizabeth P. Nickerson

Mr. William P. Egan Estate of Louise Shonk Kelly Mr. and Mrs. Robert T. Estate of Frances Fahnestock in Memory of O'Connell Elizabeth Taylor Fessenden Mary Brooks Estate of Florence M. Reid Foundation Mr. and Mrs. Douglas A. Mrs. George R Rowland Mr. and Mrs. Lawrence K. Kingsley Mr. Roger A. Saunders Fish Mr. and Mrs. Allen Z. David and Marie Louise Nancy Fitzpatrick and Kluchman Scudder Lincoln Russell Audrey Noreen Roller* Mr. and Mrs. Ross E. Mr. and Mrs. Eugene M. Mr. and Mrs. Robert A. Sherbrooke Freedman Lawrence Dr. and Mrs. Richard F.

~~Mr. and Mrs. Robert L. Gable Mr. and Mrs. Robert J. Spark~~

~~Mr. and Mrs. George P. Lepofsky Stone Charitable Foundation~~

~~-Gardner, Jr. Alexander M. Levine James V. Taylor and Estate of Grace Cornell Graff Estate of Leona Levine Caroline Smedvig~~

Mr. John L. Grandin, Jr. June Rockwell Levy Edwin S. Webster Foundation The William and Mary Greve Foundation Mr. and Mrs. Robert C. Foundation, Inc. Lucia Lin and Keith Lockhart Winters Mrs. Henry H. Halvorson Estate of Augusta W. Little Estate of Dixie Ward Wonders Carol and Robert Henderson Mr. and Mrs. Caleb The Cornelius and Muriel Hewlett Packard Company Loring, Jr. Wood Charitable Fund

~~Mr. James G. Hinkle, Jr.* Dr. and Mrs. Frederick H. Mr. and Mrs. Richard F. Lovejoy, Estate of Elizabeth B. Hough Jr. Young~~

~~Estate of Grace B . Jackson~~

* Includes a deferred gift Chesterwood, UPA

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NEW YORK CITY WEEKENDS PRAGUE VERDI FESTIVAL WEXFORD OPERA FESTIVAL 2000-2001 Metropolitan Opera Season August 21-29, 2000 This yearly event pro- Wexford and Dublin vides a wonderful opportunity to hear great October 22-29, 2000 Wexford, 3 rare DELUXE, ESCORTED TOURS Verdi operas in the enchantment of old-world works: Adam's SI J'ETAIS ROI, Zandonai's CON- with outstanding hotels, prime orchestra tickets, Prague: Verdi's NABUCCO, RIGOLETTO, IL CHITA, Tchaikovsky's THE MAID OF ORLEANS. festive meals, transfers, tour director. TROVATORE, LA TRAVIATA, AIDA. Mozart at the Dublin: Abbey or Gate Theatres. City and coun-

Our opera tours to New York City are Estates Theater; two private concerts. try sightseeing. enormously popular and the upcoming season SALZBURG FESTIVAL and the OPEN- looks to be especially interesting! Do let us know PARIS and LONDON that you are interested in receiving information ING OF THE VIENNA STATE OPERA October 2000 Just to keep up with what is for the 2000-2001 Season, and we will send you August 28-September 6, 2000 Salzburg: going on in Europe's most active cities! Once the full program just as soon as possible. LES TROYENS, IDOMENEO. Vienna: The State the opera schedules are confirmed, we will select Opera's Opening Night of DIE ZAUBERFLOETE; our dates and hasten to give you details about NEW YORK THEATRE WEEKENDS LAJUIVE; LA BOHEME; CAVALLERIARUSTICANA this tour. ADDA on Broadway andPAGLIACCI.

~~The fall New York Theatre Season is approaching! Our CALIFORNIA OPERA THE WASHINGTON OPERA two-night theatre tours will feature Elton John and Tim MARATHON~~

Rice's hit AIDA at Broadway's Palace Theatre. Do join us! Los Angeles and San Francisco November 6-9, 2000 The Washington September 23-30, 2000 Los Angeles LA Opera's outstanding productions of Wagner's September 8-10, 15-17, 22-24, 29-October 1 (Larmore), (Voigt, Teren- PARSIFAL (Domingo, Hoffstodt, Salminen, October 6-8, 13-15, 20-22, 27-29 CENERENTOLA AIDA November 3-5, 10-12 tieva, Botha, Estes); San Francisco: BALLAD OF Leiferkus), Verdi's IL TROVATORE (Vaness, BABY DOE (Swenson, Forst, Morris), LUISA Armiliato; Domingo conducting), Massenet's

~~And more in Europe and MILLER (Racette, Giordani), THE TSAR'S BRIDE DON QUICHOTTE (Graves, Raimondi). The~~

~~the United States. . (Netrebko, Borodina, Hvorostovsky; Jarvi). Watergate Hotel.~~

MUNICH and SALZBURG MADRID, BARCELONA, BILBAO 21 ITALIAN OPERA SPLENDOR July -August 6, 2000 Munich: NOZZE 10 Days in late September/October Parma, Florence, Naples, Palermo, Milan DI FIGARO, KATJA KABANOVA, MEISTER- Visit the Teatro Real in Madrid, the recently December 6-17, 2000 Busseto: Verdi's SINGER. Salzburg: LES TROYENS, IPHIGENIE reopened Gran Teatro del Liceu in Barcelona ERNANI at the Teatro Verdi; Florence: LA SON- EN TAURIDE, COSI FAN TUTTE, TRISTAN UND and the new Guggenheim Museum in Bilbao. NAMBULA; Naples: CARMEN; Palermo: NOZZE ISOLDE, a Recital by pianist Evgeny Kissin and Side trips to Montserrat, San Sebastian, Avila DI FIGARO; Milan: IL TROVATORE. a Mozarteum Matinee Concert. and Toledo. OPERA FESTIVALS of ITALY FASCINATING POLAND- CHRISTMAS & NEW YEAR'S August 10-21, 2000 Macerata: MACBETH, OPERA and CHOPIN in EUROPE AIDA, BOHEME; Pesaro: LA SCAIA DI SETA, LA October 5-15, 2000 Warsaw: INTERNA- Vienna, Budapest, Prague, Berlin CENERENTOLA; Verona: NABUCCO, FORZA DEL TIONAL CHOPIN PIANO COMPETITION; Jacopo December 19, 2000-January 3, 2001 DESTINOJRAVIATA Peri's EURIDICE, Monteverdi's L'ORFEO, the Vienna: LA BOHEME, ROBERTO DEVEREUX,

~~GLYNDEBOURNE, EDINBURGH, ballet LA DOLCE VITA. Cracow: Donizaetti's ELEKTRA. Budapest: BORIS GODUNOV, NOZZE~~

~~LONDON LUCIA at the magnificent Slowacki Theater. DI FIGARO. Prague: CARMEN, NABUCCO, COSI August 11-20, 2000 The GLYNDEBOURNE FAN TUTTE. Berlin: MAGIC FLUTE, DIE MEIS-~~

~~FESTIVAL: the fascinating combination of IN the STEPS of BACH TERSINGER, Beethoven's 9th Symphony, the~~

Stravinsky's THE RAKE'S PROGRESS and To celebrate the 250th Anniversary ballet COPPELIA. Mozart's COSI FAN TUTTE. The EDINBURGH of the Death of J.S. Bach—Weimar, Leipzig, Hamburg FESTIVAL, Concerts by the Cleveland Orchestra, NEW YEAR'S in VIENNA October 15-25, 2000 With visits to the Scottish National Orchestra, pianist Andras December 28, 2000-January 4, 2001 Eisenach, Arnstadt, Ohrdruf, Muehlhausen, Schiff. Handel's ALCINA by the Stuttgart State Our special tour to celebrate the New Year Koethen, Lueneburg and Luebeck. Opera perfor- Opera. LONDON: Theatre and the Kirov Ballet in in Vienna. THE MERRY WIDOW, DIE mances: TOSCA, RIGOLETTO. DON QUIXOTE at the Royal Opera House. SCHWEIGSAME FRAU, ROBERTO DEVEREUX SANTA FE OPERA with VIENNA, PRAGUE, BUDAPEST and the ballet CINDERELLA

~~INDIAN MARKET October 16-24, 2000 A sister to our spring~~

August 16-22, 2000 Performances of tour, it will feature different opera perfor- Our program of MUSIC CRUISES includes: RIGOLETTO, ELEKTRA, ERMIONE, NOZZE DI mances, but many of the special events and MV DRESDEN, Dresden to Hamburg Sep- FIGARO, the APPRENTICE SHOWCASE and the sightseeing will remain unchanged. These three tember 16-23, 2000; MS TAMR HENNA for Closing Night of SANTA FE CHAMBER MUSIC former capitals of the Hapsburg Empire make ULTIMATE EGYPT & AIDA at the PYRA- FESTIVAL with fascinating sightseeing in this for a fascinating combination of performances MIDS, October 1-13, 2000. "Land of Enchantment." and sights.

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